review

Kick Review and Bollywood Catch Up Upodcast

Our good friend FilmiGirl was nice enough to join us this episode and we had a VERY long but long overdue chat about tons of topics any Bollywood afficionado would be interested in.

We start with a rundown of this year’s releases and we give Filmigirl a ton of homework to catch up on since she is back from hiatus. Then we look towards the rest of the 2014 release calendar and the movies that are looking interesting and 3 that we agree on look terrible (funily for different reasons)- Can you guess which ones they are?

We wrap things up with a main review of Salman Khan’s Eid release Kick which is probably going to be one of the biggest BO earners every *until that records get shattered as Asim‘s predicts maybe even this year.

As usual we go off on many a tangent, but I guess that’s the reason you guys listen to us!

Let us know what you thought of this Upodcast Episode by streaming/downloading it below.

Or you can subscribe to us in iTunes in the links below and never miss a beat!

Ulidavaru Kandante Review LIFF 2014

Ulidavaru Kandante_01[Disclaimer: Due to messed up scheduling at the screening venue (for London Indian Film Festival), I missed the first 30 minutes of Ulidavaru Kandante, as I was still watching Goopi Gawaiya Bagha Bajaiya (review link here). This post is hence, more of a rant on the remaining 4/5th of the Ulidavaru Kandante experience.]

So, as I walked in straight into the world of Ulidavaru Kandante (UK, As Seen By The Rest) at 00:30:00, I was met with the end of Chapter 1, and a journalist called Regina (Sheetal Shetty) talking about something that went wrong, referred to as “the Incident”. I was left confused, and yet curious about what this incident was, and if I had missed it in the first 30 minutes. But at the same time, I was glad I that I came in just in time for the beginning of Chapter 2 – the story of Richi. Cue smoke machines, theatrical spotlights on, and through the smoky mist, enters our hero – director Rakshit Shetty as Richi, the cocky cop who oozes testosterone in every frame. This is one of those alpha male leads that’s part Tony Montana, part Vijay Dinanath Chauhan, and part Chulbul Pandey, sans the Sonakshi pyar-thappar angle, or the drunk sillyness. At first glance, Shetty looks like a long lost brother of Mahakshay ‘Mimoh’ Chakraborty, but one who can actually act, and commands attention, and minus 20-30 kilos (to be confirmed). Richi is not a do-gooder or a Robin Hood. He has a reputation to take care of, and even in a lungi, gulping down on local desi-daaru, with an unkempt moustache, that reputation brings broken noses for the unlucky ones. And that tiger dance, oh yes, I get that Singham metaphor. Richi does not walk, he has the gait of a lion, make up or not.

Coming back to the story, or stories rather, the trailer is quite spoilerific in my opinion. There is an incident, which we don’t know of, until the climax i.e. There are multiple witnesses, and their multiple/conflicting point-of-views, a Pulp-Fiction-esque MacGuffin red bag with shiny contents, and many bullet shots. There’s tiger-painted people dancing(I like tigers). If that sounds like UK borrows a lot from cinema pop-culture, yes it does. Does it look like a copy? No, it does not. Shetty’s influence is visible, but UK is a beast of its own. You can smell the authenticity in the environment, and it is quite obvious how comfortable it is in its own skin, and yet does not shy away to flash its influences – from Kurosawa’s Rashomon, to Scarface, to even Frank Miller’s Sin City. The director expertly hides the details, and patiently peels off each layer. With cliffhangers at the end of each chapter, and each chapter serving as a teaser for the final reveal, UK works because of its sharp editing, its crisp script, and the believability of the world that surrounds these characters.

Kudos to the DOP Karm Chawla to have presented Malpe in its most stunning onscreen version – from the warm views of the washed clean sea and sandy beaches, to the amber nights lit with fire. Painted tiger faces never looked this great. The hustle and bustle of Janmashtami festival in temple city Udupi errupts with its vibrance and is a colour overload of sorts. And that entry scene of Richi through the smoke (mentioned above), as he says “Phata Poster Nikla Hero” is a wolf-whistle worthy one. Coupled with a loud drum-heavy background score, UK does not go easy on your senses.

Donning the acting jobs, the supporting cast do pretty well. Worth mentioning are Tara as Ratnakka – that scene when she sees her son after 15 years, and bursts into tears, gave me goosebumps. Little Sohan Shetty as street-smart kiddo Democracy steals the show in many scenes. And Kishore as Munna, is the missing piece in the whole puzzle. He provides the much needed gravitas, the heart that glues the tale. His wide-eyed dreamy stoner romance makes you chuckle, and also leaves you sad. But of course, above all, this movie belongs to Rakshit Shetty. Not only as the onscreen lead dude, but also as the offscreen one.

On the surface,it looks like yet another South-Indian alpha male hero rescuing damsels-in-distress. But UK is not content with that template, and breaks the norms. It is a tall rebel, heck it’s the “Rebel Alliance” on its own, which even though has a vernacular language, its speech is loud and global in all respects. Shetty’s attempt at marrying the two, often looks effortless, but only shows the confidence in his craft. It is nothing short of groundbreaking. I am highly curious of what is coming up next on his filmography. If this is what the new wave of Kannada cinema has to offer, count me in. I will drive that hype train.

This has been the best of the London Indian Film Festival’s offering this year.

5 Tigers Out of 5. ROAR!!!

[Footnote: I have deliberatley tried not to tell you much about this movie, and would rather have you check it out for yourself. Ulidavaru Kandante is available as PPV on ReelBoxTV.com. However, it does not have any subtitles, but they are working on it. Follow them on twitter @ReelBoxTV to find out when this would be done.
 
 The subtitles at my screening were quite funny. The swear words such as bastard and the like, had the vowels replaced with corresponding Greek symbols. That probably is because Director Rohit Shetty has not been able to completely get over his Engineering past!
 
Contact the director @rakshitshetty on twitter, make some noise, and probably he will bring this to a screen near you. It is definitely one to be experienced on the bigger screen, with booming sound. Or for you influential people out there, make Netlfix pick this gem up.]

The London Indian Film Festival has screenings all over London until the 17th of July.

For more info head on over to http://www.londonindianfilmfestival.co.uk/

@9e3k

OneKnightStands Bollypop | 9E3K | @9E3K

Sulemaani Keeda Review LIFF 2014

Sulemani Keeda_01Director Amit Masurkar’s slacker bromance ‘Sulemaani Keedha’ (SK) on the surface is pretty much what one of its characters wants a movie to be like. That character is Gonzo, a producer’s son, a big fan of out-of-the-box ideas and who plans to make a paradoxical movie with a story that has no story. This is a movie, which on the surface has no real story to it, and speaks to Gonzo’s sensibilities of having no real hero, heroine, villain in its tale. And yet, by the end of its run, you cannot help rooting for its struggling protagonists and their fight against their own banal lives, and to rise from the crowd. I feel Sulemaani Keedha (Hindi street slang for pain in the ass), does not necessarily translate to the negative meaning that it may imply. In my opinion, it may be the royal itch to prove something – to yourself, and to the world.

We are introduced to these two slackers – Mainak and Dulal (debutantes Mayank Tewari and Naveen Kasturia), who are drowned in their own torn scripts and unpaid rents, and are dejected from every corner of Bollywood. But even with such amount of rejection, they refuse to give in to the temptation of a comfortable paycheck by writing for daily soaps. In their free time, which they seem to have a lot, they aimlessly and unsuccessfully attempt at hitting on girls, in the bookstore, in the clubs, and everywhere else. SK is about these perennially hungry and horny struggling writers, who juggle their struggles, opportunities and love.

Shot exceptionally well by Surjodeep Ghosh, SK captivates the spirit and the sparkle of Mumbai. The guerilla style shooting used to shoot this movie to keep costs low, actually works in its favour to make it look real and authentic, and often as silly as real life can be. The dialogue is spunky, and emotes the angst and the ferocity of all creative strugglers who come to this mad city looking for that one shot to make it in the big bad world of Bollywood. There are plenty of nudge nudge wink winf references to the Rohit Shetty’s 100 Cr Club formula, there’s a chuckle-worthy animated sequence involving Gonzo and his cat, and the music by Arfaaz and Anurag needs to be released on iTunes pronto.

For its warm hearted spirit, and its giggly jokes, SK left me feeling happy. You shouldn’t be surprised if this lands up on your Netflix queue soon. Until then, it is worth travelling that distance if it is playing at a festival near you.

3.5 snorts out of 5.

The London Indian Film Festival has screenings all over London until the 17th of July.

For more info head on over to http://www.londonindianfilmfestival.co.uk/

@9e3k

OneKnightStands Bollypop | 9E3K | @9E3K

Review Ladies vs Ricky Bahl

Ranveer Singh, Anushka Sharma and director Maneesh Sharma come together once again under the YRF banner after their sleeper hit of last year Band Baaja Baarat, Ladies Vs Ricky Bahl is called a Rom-Con puntastically and banks heavily and is pretty much built around the popularity of the leading man, after Ranveer’s debut which almost ecplipsed his co-star unfairly.

 

Here we follow grifter Ricky Bahl (Ranveer Singh) under his different guises as he cons Daddy’s Girl Dimple in Delhi (Parineeti Chopra) as a gym trainer, no non-sense business lady Raina in Mumbai as an art critic (played by former model Dippanita Sharma) and before that as shy garment manufacturer from a small village so where he duped the innocent Saira played by Aditi Sharma in Lucknow (Probably the most “evil” of cons).

The swindled ladies want to get back their money, respect or “boyfriend” back and hire salesgirl Ishika (Anushka Sharma) to con the “conner”.

 

Up to this point in the story (which is pretty much the interval) the movie is a joyous ride of the different cities, accents, get-ups, cultures and each of the different scams of which especially the one in Delhi is fun to watch.  We see firecracker Ranveer proving his debut was not a fluke and he truly is a guy to watch out.  Anushka makes an energetic introduction in Jazba, shaking her behind in front of dubbawhala’s in a station and Parineeti has us pretty much cracking up in every scene she is in almost playing a spoilt version of Shruti Kakkar, or is just that no nonsense Delhi accent she puts on? It makes certainly makes us look forward to her forthcoming movie Ishqzaade with Arjun Kapoor.

But then things start to go downhill as soon as the focus shifts to the duped trying to get back at Ricky.

 

As we discussed during our Matchstick Men Upodcast about con movies, a con movie is only as good as the con, and here there is not a moment that you truly believe that these girls will be able to have the upper hand on Ricky. What remains is the love story, which is underdeveloped, and when it does pop up, it comes out of nowhere.

If the pacing of a movie engrossing you don’t realize some loopholes but this is not the case in Ladies vs Ricky Bahl and the pace actually drops in the scenes were Ranveer isn’t present.

 

Although the supporting actresses are talented, and Saira was channeling a bit of Yasmeen from Dhobi Ghaat)

Both Anushka and Ranveer look great but as an audience member you almost feel cheated as I didn’t feel there was enough of them in the 2nd half of the movie. We never really get to understand Ricky and in a very “500 Days of Summer”- way we only see the version of Bloody Kamina that the victims of his cons show us. Making it that even the climactic scenes of character growth feel like they materialized out of thin air. I do think Ranveer was trying to channel a bit of Tanni from Rab Ne Banadi Jodi (before the reveal) looking at everything with mysterious glances, is he aware that he is being conned? Or is he just playing along? But this is probably just the performance trying to add more to an underdeveloped script.

Anushka is radiant, and there was lots of talk of her weight loss, some going as far as to shout anorexia but she manages to fill the screen with a positive energy that no other contemporary actress has.  Some actresses ooze class, some sensuality, Anushka manages to do both and adds a girl next-door charm.

And god that smile… too bad Ishika, the character, doesn’t live up to the talent of this amazing performer.

 

The visuals are glossy as Christmas ornaments; every scene has the popping energy that we are used to YRF studios (I do wonder if this is a look that will translate to the US movies they are now producing)

 

The songs are mediocre although choreographed marvelously. I did feel that the undershirt dance in title track was reminiscent of the studios massive hit Dhoom 2′ s “Dhoom Machale”. The song placement is balanced and the performances by the leads against are so energetic they are enjoyable even though you wont be buying the soundtrack anytime soon (something I haven’t done either, although that jazz sample in the title track is pretty awesome)

Every close up is shot with lots of fans so hair is always flopping around, something I might have found more annoying as I was sitting super close to the screen.  (I could actually see a couple of nose hairs poking out of Ricky’s pulling me totally out of the moment, I hope I didn’t spoil any moments)

 

All in all Ladies vs Ricky Bahl is quite fun and enjoyable even though I don’t imagine it ending up on any best of 2011 lists. Something I am preparing for a future Bollywood Upodcast so keep checking us out. Maneesh Sharma needs a better screenplay next time but it’s quite tough to capture lightning in a bottle. If you don’t go with the expectations of another Band Baaja Baraat, you will have a great time.

 

Something more:

 

  • I would love to see what Ranveer can do coming out of the YRF banner. The guy has such a screen presence and could totally take on more challenging and edgier roles if given the chance.

 

  • I would like to see Anushka Sharma in pretty much everything, she s such a delight to watch.

 

  • Ladies vs Ricky Bahl is another in a long line of Yash Raj con after Bunty Aur Babli, Badmaash Company, the Dhoom series and in some ways even Rab Ne Banadi Jodi. Maybe Band Baaja Baraat connected more with audiences, as it was a movie about hard work and graft? Something we don’t seem to get as much in contemporary Hindi cinema.
  • It seems that Yash Raj studios have no idea how to portray the business world actually works.  Salesmen are equated with con men (something that was also raised in last years Rocket Singh-Salesmen of the Year) and seem to be proud of duping their customers, something I inherently disagree with. Even Raina’s who’s supposed to be a hardnosed corporate manager also has to deal with interior decoration and also being a part time art critic

 

 @asimburney

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Rockstar Review

Coming to the close of a huge year in Box Office but maybe not in complete tune with my personal sensibilities I was pretty much sold on Rockstar from the outset just because of 2 names: Imtiaz Ali and AR Rahman. Imtiaz Ali has been quietly making romantic movies in a very fresh manner. When the trailer and especially Kun Faya Kun video was released I knew this would be hitting all my sweet spots.

A bittersweet love story (which I am going to talk about below in the spoiler section) set against the backdrop of the birth of a fictional Rockstar, from gangly Steve Urkel look-a-like Janardhan Jakhar to trendy bohemian bourgeois shalwar/pant-wearing stadium rocker. Although Rock On was a success and a movie I totally loved, London Dreams left such a skid mark in my cinematic briefs even if it starred one of my favorite actors that I was weary of Hindi Films taking on Rock again. (Ranbir prancing around with a guitar during the press tour really didn’t help either)

I was happy to see that there was less rock than the title suggests but the amount there is, is unfortunately not well handled. For anyone that has had the soundtrack on repeat (like me) would know that there really is only one song that could maybe be qualified as rock (although people that like to wear black T-shirts probably don’t agree with either) but it does bring us to the second element of the movie that had me sold and that is of musical wunderkind AR Rahman. Every soundtrack that the guy has ever produced is like crack to me. If I don’t get some new music at regular intervals I started hanging out with Bubbles in Hamsterdam or trying to steal some copper wire.

The movie is told in a nonlinear timeline starting with the final concert in Rome, flashing back to a young Jordan. This is quite refreshing although not unique for a Hindi film, it did however create quite a bit of confusion for the samosa auntie collective around me in the theater. Some of the emotional beats suffer a bit due the timeline but the movie weaves such a magic that it sticks so close to your heart that you yearn to revisit it as soon as you step out of the darkness of the cinema.

Rockstar is many things, but first and foremost it’s a musical epic composed around the soundtrack of Rahman.  Rockstar would not be possible without the sounds that have been on repeat on my iPod since the soundtrack was released a couple of months ago. From the chant-along stadium anthem Saada Haq, the hypnotism of the sufi inspired Kun Faaya Kun to the fun loving Katiya Karoon, there hasn’t been an album like this all year and truly only someone like AR Rahman’s midas touch could craft something that accompanied with the beautiful cinematography of Anil Mehta takes us to the soaring highs that we see Jordan gaze upon many times throughout the movie. A very smart move was to have one playback singer take on all of the songs that Jordan sings; it just creates more cohesion between Ranbir and Jordan which makes the character just that tad bit believable. And another thing I loved about the songs… there were no damn techno remixes of them on the album, thank Rahman.

Rockstar is a powerhouse performance by Ranbir Kapoor, although the young actor has been known to have the luxury to experiment unlike his contemporaries, he has an innate and effortless talent that can’t be denied.  We have seen him as a slacker in Wake Up Sid, a college graduate transformed into a political strategist in Raajneeti but the performance here is just something different. Although Jordan is pretty much a petulant man child (isn’t that what Rockstar are supposed to be?) Ranbir makes you feel his anger, his frustration, his ambition and his love for Heer.

Played by newcomer and former Whose Americas Top Model ( I dont know the exact name of that show) contestant Nargis Fakhri, the character of Heer teeters on the manic pixie dream girl, a character template coined by film Critic Nathan Rabin.  Man-children protagonists usually fall in love with MPDG but Heer is more of a driver of the relationship than the label usually offers us. The decision to dub Nargis’ voice creates a disconnect doesn’t help making the performance more stilted, a decision I never understand but then again I am a sucker for all types of accents.  And who knows if it’s something that even Rani Mukherjee and Katrina Kaif struggled with at the start of their careers maybe we can see more of Nargis soon, I definitely wouldn’t mind seeing more of her. (I totally also dig that little scar she has under her nose)

And maybe Heer is a MPDG in the way Paro was in Devdas or Kiran was in Darr but Nargis’ fresh appearance is so charming that you just want to chill out with her and have fun like Janardhan does before he becomes Jordan.

Her backstory is treated with nuance and hints (her marriage and her decisions in Prague) which are very subtle but make us understand why we as audience members fall in love with her. She is clearly playing that girl in high school that every guy has met, the one every guy and approximately 10-15% of girls are crazy about in college, that teenagers dream about after class and since she is engaged to be married that just adds to her allure.

Rockstar is a passionate love story of the kind we haven’t seen in a while and earlier this year Mausam probably tried to deliver. Director Imtiaz Ali has steadily worked throughout his previous movies trying to understand the foibles of young love within the conventions of Bollywood. Some might say he is getting stuck in the same mold but he manages to do so by giving us a new perspective on stories we know and some of us love. This is the case with Rockstar too, we know where the story will take us and where it will end but the ride is just so fresh that you forgive most of the faults.

There are some issues with the movie though, the second half of the movie starts dragging and the writing of the characters becomes a bit unbelievable especially in the female characters, like Heer’s sister, her sister in law and mother. ? Maybe the writer in Imtiaz Ali is only able to handle one female character to halfbakedly flesh out?

I also would have liked to see more of the journey of Jordan, suddenly he seems to be rocking stadiums and kicking journalists and we never have a sense on how that is justified. It would have been great to see him struggle more with the music industry (which we hear clearly in Sheher Mein on the soundtrack than in the movie itself). It reminded me of those scenes in 8 Mile where we see Eminem writing lyrics on the palm of his hand as he’s just working on this music all the time. This sense of creativity was lacking in Jordan. But this is probably due to the decision to focus on the love story.

Most of all Rockstar is a movie of achieving all your dreams but the price it comes at can be very high.

Spoiler Section: (if you want a non spoiler- non desi review, you should check out the review I did for HeyUGuys posting very soon)

  • What a wonderful strategy to release the music much earlier. We all know AR Rahman’s soundtracks are slow poison so it was great let us get used to the songs so we are singing along oh yay a with Jordan during Jo Bhi Main.
  • Mohit Chauhan, the main playback singer and Irshad Kamil, the lyricist are together with Rahman an amazing combination. Sheer poetry together with an amazing voice, it leaves me speechless at every listen. I love this soundtrack especially in a horrible year for music in Hindi films.
  • I have been trying to avoid as much as possible but Rockstar is a TRAGIC love story, meaning someone dies but love never does.  I think the way Hindi Films just go all out and wallow in the tragedy and melodrama of love is the reason I adore our good ole Bollywood. We’ve had our masala and will probably have more looking at the roster of releases for the next year but Rockstar reminded me in parts of some of my favorite movies like Hum Dil De Chuke Sanam.
  • Where can we order those pants Ranbir is wearing? They seems very conforable to lounge in but debonair enough to go out and get some milk on a sunday from he corner shop.
  • Also is Shehnaz Patel getting typecast taking care of bed ridden characters after Guzaarish?
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Ep 41 Misfits Season 3 premiere and QandA with Cast and Creators at BFI

One of the very best British things around right now, Channel 4‘s Misfits makes a welcome return to E4.  Asim and Martin were fortunate enough to see a preview screening of the first episode from season 3, at the British Film Institute on London’s Southbank.

Not only a preview screening, but an intro from the producer, plus Q&A with creator Howard Overman and cast members AND a sneak peak trailer for episode 2.  Joining Howard Overman on stage were Lauren Socha (Kelly ), Iwan Rheon (Simon), Nathan Stewart-Jarret & Robert Sheehan replacement, Joseph Gilgun (Rudy).  Ahead of the Q&A the audience was told “whatever you ask, just make sure it’s not about what superpower we’d like to have if we could choose one!”  The cast must get this question so often it’s like an IV drip.

Season 3 opens with the gang almost all back together and with new powers.  Nathan, we are told is “in Las Vegas” and we are left to really get to know the replacement, Rudy, played absolutely perfectly, by Joseph Gilgun.  Sadly Robert, Rudy’s character is fantastic and we’re just not going to miss Nathan at all!

Without divulging too much, the show’s a cracker – slightly-comical death and sexual return to our screens – and by the time we’ve been introduced to Rudy’s new character the gang are back doing community service in the safe hands of the same probabtion officer from the previous episodes.

Set your Tivo for 10pm Sundays on E4 and find out who the real Heroes are.

Beware: The Episode contains spoilers as usual.


@martincawley

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Ep 40 Pan Am TV Show Bonus Episode

Upod goes flying for its next podcast; a one-off special with guest reviewer Reena Mumbai, aka Mumbai Mango from twomanoges.com or @r2the from twitter (you can also catch her on her blog at Reena.Me)

Unfortunately, this episode comes with a warning of some turbulence so you’ll have to fasten your ears into their seatbelts for some bumpy audio.

The latest US show to ape the look and feel of the early sixties, Pan-Am focuses on the airline of the day: Pan American world Airways.  In the decade when business class was economy and first class was first class the show seeks to blend a bit of women’s liberation with cold war espionage.  All the while looking supremely glossy.

Produced by Sony TV and aired by ABC in the US, Pan-Am has some heavyweight names attached to it: writer Jack Orman of ER fame and director Thomas Schlamme of The West Wing behind the scenes, and Christina Ricci (’nuff said) and Margot Robbie from, erm, Aussie soap Neighbours.

So is it worth paying the airfare?  We flew Pan-Am for 2 to 3 episodes so you can find out and episode 6 airs this Sunday.  Wait, how did I get this far and not mention Mad Men?

Listen to the podcast below!

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Ep 35 Real Steel , The WhistleBlower, The Hour and FrightFest

Upodcasting was hungry. Very hungry. We have feasted on the many delights on offer and bring you a tasting menu of scientifically measured blabber in an episode that Heston Blumenthal would be proud of.

The annual Film4 Frightfest returns to haunt us, but in a good way. We talk about the Guillermo Del Toro produced remake of Don’t be afraid of the dark and the follow-up to cult British horror classic The Wicker man, The Wicker Tree; again directed by Robin Hardy.

For good or for bad, Breaking In has been renewed and we also debate the merits of Franklin and Bash. Whatever our conclusions, Louis CK brings us back to reality with the excellent and award nominated, Louie. More flights of fancy follow with our analysis of the excellent trailer for Tucker Vs Evil.

BBC2’s 6 part drama The Hour is the next dish to be served…mainly cold, but with a dash of spicy sauce to liven it up. We then have a little bit of a breather between courses; some sorbet to cleanse the pallet in the form of Real Steel: the all action, futuristic, robot-fighting, fun-packed blockbuster starring Hugh Jackman. Our co-host @asimburney was lucky enough to have a sneak preview screening!

The main review this episode is for The Whistleblower – a somewhat under-known film starring Rachel Weiss in a brilliant performance in a powerful film. It won’t spoil things to say we think this film is fantastic and a perfectly satisfying way to end our movie meal.

Listen to the podcast just after the trailers or subscribe to us on iTunes!

@martincawley

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Review Bodyguard

It’s Eid, a day of rejoicing after a pious month of fasting and introspection. And how do us Hindi Film fans celebrate? We go out to the movies of course! Since the past few years Eid has become synonymous with a Salman Khan release. He’s set records with Dabanng and Wanted at Eid and Ready earlier this year. Will he be able to do so again with Bodyguard? Will he be A-One number one and beat that other King? Has Upodcast ever been interested in the box office fate of a movie and will we start to do so now? If you want to know if Bodyguard will be a hit, I am sure there will be numerous reviews posted around the interwebz in the next few days. But if you want to get into the nitty gritty of Bodyguard, read our review!

Bodyguard is the story of Lovely Singh (Salman Khan)a trusted and loyal bodyguard that gets hired by Sartaj Rana (Raj babbar) – one of those dhoti wearing rich dudes with a moustache-  to protect his college going daughter Divya (Kareena Kapoor). Divya feels her style gets cramped by having a bodyguard shadowing her in college, so she decides to prank call Lovely Singh pretending to be a girl named Chayya to distract him by making him believe she is in love with him…Do I need to spell out what happens next?

It’s never great to start a review by talking about another movie but I have to admit as a Salman Khan fan, watching Ready ( our full review) was a torture that still gives me pant shitting nightmares every time I hear the annoying whistle from Dhinka Chikka. But it was a huge hit so I guess it only shows how much out of touch I can be with the taste of mainstream audiences. (I didn’t like Transformers 3 either). So to put it mildly I was reticent of watching Bodyguard after seeing the first trailer. I felt it was an easy cash earner riding on the popularity of Salman after his previous hits, the soundtrack wasn’t really exciting me either (does any Himesh soundtrack do that anymore?). Another thing Ready proved was that Salman’s movies were becoming critic proof, and no matter the shoddy direction or egregious plot, the shirt removal scenes would have the audiences in raptures. It’s back in vogue to be a Salman Khan fan and more power to him. He’s had a couple of rough years pre-Wanted.

(Where were you people when he was making Jaan E Mann, Garv and Veergati? I ask you this faux Salman fans, where were you when he needed you???)

Bodyguard is tailor made to be a massive hit. The timing is perfect, the marketing has been ramping up (of which you have seen a lot on Upodcast, truth be told) and they have created a lot of buzz in a short span of time (Bodyguard started shooting in January if I’m not mistaken). It mixes everything we want as a time pass movie in measured doses. First half is comedy and a hint of a love story. The 2nd half ramps up the action and emotions. The songs are placed with precision engineering and more than anything this movie is produced by an ace team.

Performances are what are to be expected from stars of this caliber. Glad to see that this will finally be a hit for this pair after the underappreciated Kyon Ki and the unmitigated disaster that was Main Aur Mrs Khanna. Salman is playing Salman as he usually does. He’s a lot more subdued playing a dutiful Bodyguard but the moments he needs to switch up with some classic Michael Jackson moves and charm the audience, he does so faultlessly. He’s become a master at giving the audience what they need, I just hope the audience needs this Salman for a whole while longer. Also can we have every movie of his start with a warehouse fight? (This one was particularly brilliant)

The money and effort spent Kareena’s look and wardrobe is staggering and she looks luminescent on screen in every frame. (We might still be a bit besotted by meeting her last week and her podcast with us). Compared to Kaajal Agarwal in Singham (The previous South Indian remake) who was also dressed in the ethnic look, you can understand what sets Kareena apart from anyone else and why she is in the position she is. Above all that she has really developed into a fine actress, even in a movie like this which is pretty light, the moments she needs to emote with her tear filled eyes, she does so with aplomb. She gets an introductory montage in the movie which makes you forget for a moment that you are watching a movie and if she would turn around and sell us a brand of shampoo or face cream, I am sure the audience would have run out and bought that product straight away. (She doesn’t do so although there is quite a bit of overt product placement throughout the movie). I’m not entirely sure she can still pull off the role of a college girl but I am sure people show me the “Amir Khan in 3 Idiots” card as soon as they have finished reading this sentence, so it becomes a moot point.

The action scenes designed by Vijayan (who worked with Salman in Wanted and Dabanng) are amazing, probably the best we will see all year (until Agneepath comes out). They take the no-holds barred mix martial arts approach from the climax of Dabanng and add more wire work to it. Whereas the wire work in Singham (apologies for harping on about Singham, maybe check out our full review for our thoughts) made the action seem weightless and cartoonish at times. The fights in Bodyguard feel more grounded as they are aided by well used freeze frames and bullet time. The final fight scene with Aditya Pancholi ( why don’t we see more of him) if breathtaking, and even if the villains are only punching bags for Salman in this movie, they do a pretty good job.

But all this is a success of the production team but a movie needs a few more elements like a tight or at least logical screenplay, clap worthy dialogues and competent directing and that is where bodyguard starts to falter.

Director Siddique has written and directed this movie 3 times (In Tamil as Kaavalan, in Malayalam as Bodyguard and now again in Hindi) now but he is still not skilled at telling the story and he seems to have no idea what the job description of bodyguard actually is. In Siddique’s warped mind a bodyguard is an amalgam of a special ops commando, a personal trainer and a nanny. Apparently a bodyguard needs to attract as much attention as possible and can also not sit next to his master.

He fills in the first half of the movie with an comedy track with overweight side kick (something that seems to happen quite a bit when importing movies from the south- see Wanted and Singham). The overweight girl from “I H8 Luv Stories” is somewhere on the background and only around so the midget (dwarf, little person, I don’t want to piss any karate proficient little people) can make some fat jokes. Apparently these jokes benefit from the rapid fire repartee of South Indian cadence, I don’t think I would find them funny in anyway shape or form.

The love story until the interval is pretty juvenile and if it wasn’t for the charming performance of the stars, it would be ridiculous. Why do remakes of South Indian movies make their female characters act only a couple of levels above the retardation line is a mystery to me? (I’m sure their moms had to get involved to get them just above that line a la Mama Gump)

I want to talk about the ending of the movie in the spoiler section but only read it if you have seen the movie already in one of its previous avatars or don’t care enough about it not to have it spoilt. But Siddique reminded me of Puri Jagganath director of Bbuddah Hoga Terra Baap. Another director who overstretches his skills and his movie was only successful through the weight that the actors brought in. At least Puri made an orginal movie. Siddique has done this 3 times now and if it wasn’t for a strong action director, camera man and production team, he would not have been able to deliver.

Clearly not every South Indian director is Prabhu Deva.

For whoever is keeping final score for Bodyguard:

Dabanng ≥ Wanted > Bodyguard > Ready > Suryavanshi

Before I go into the spoiler section I want to go into a bit of tangent.

I do wonder how far we can stretch the southification of Hindi Film Cinema. Audiences will get tired of the inane comedy that just doesn’t make that much sense and every South Indian I have spoken with prefers the original version and feels the adaptation wasn’t done right. It would be an idea to take the time and effort to really adapt and distill the screenplays to local audiences and just change the timing of the comedy and emotional beats. Even the dialogues lack the punch when translated from a language they weren’t originally written in. Until now, the power of the stars has been able to drag these movies to box office success. Stars like Aamir, Salman and even Ajay have enough of a following to do so but what will happen when these movies have minor stars attached to it?

I am dreading seeing the promo’s for Force and I do not believe that people who loved seeing Surya in Kaakha Kaakha( which we reviewed) will enjoy pretty boy John Abraham in it.

I also understand the anger that some South Indian fans feel towards these movies which can only be described as a Mcdonaldisation of their cinema transforming it into a bland mongrel form of sustenance which only nourishes but does not fill the appetite.

When speaking with my twiter buddy Reena Mumbai from TwoMangoes (check out her blog by clicking here) about our obsession with pre- 50 Cent hip hop. It made me think of a song by Mos Def called Rock N Roll on his epic Black on Both sides Album, about how white America has appropriated much of black culture thanklessly.

“I said, Elvis Presley ain’t got no soul
Chuck Berry is rock and roll
You may dig on the Rolling Stones
But they ain’t come up with that style on they own”

I wouldn’t say we are there yet but I do hope more effort is put into adapting these movies in the future.

But can we at least get rid of the overweight sidekicks and inane slapstick comedy?

Spoiler Section: ( Really do not read before watching the movie)

  • There is unnecessarily convoluted twist at the end of the movie which is an example of the ineptitude of the writing. Not only does it just seem to give us the same result we were going to get 15 min earlier but it does so using one of the most thankless characters in the entire movie. This could very well be a prequel to Kuch Kuch Hota hai. It really sucks and annoyed me to no end. (oh I was really evil, and I now have this ailment that the writer doesn’t even take the time to name and could you please not tell your daddy I was evil oh bespectacled son)
  • I also wonder why did no one get any older? We don’t need them to pull a Veer Zaara but you could add some wrinkles or at least dress people differently, it seemed the scenes were just shot 2 days later but a 7 year old kid had suddenly appeared out of the blue.
  • The entire phone plot made me miss Karisma Kapoor so much. I hope she comes back soon and if we pray really hard maybe she will do a movie with Salman Khan again. I don’t think there was ever an actress he seemed more comfortable with or just had fun with and it showed on screen. It’s a shame because to think that way though as Bebo looks so pretty but did anyone else feel she was channeling a bit of Lolo on those phone scenes?

Let us know what you thought of Bodyguard and how they did adapting it from the previous versions in the comments section below

 

 

 

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Delhi Belly: The Anti-Slum Dog Millionaire

Delhi Belly is the long in the making black comedy produced
by the illustrious Amir Khan Productions, a banner that is constantly on the
threshold of that very coveted first potential Indian cross-over that gives Hindi
cinema the acceptance and credibility by International audiences that it almost
tasted with the 2001 Oscar nomination of Amir Khan’s very own period cricket
saga Lagaan (and then Danny Boyle took away it’s thunder with Slumdog
Millionaire). Former Ad maker Abhinay Deo‘s shows a hell of a lot of visual
flair, as he did in his previous release Game (a slick who-dunnit that Upodcast
enjoyed but was universally panned by critics and rejected by the box office),
taking us on a wild and thoroughly unhygienic ride through the mean street of
Delhi via diamond scams, dubious broast chicken, orange juice lota’s and halfhearted
cunnilingus interrupted by a Paris Hilton style inability to switch off the
phone.

The story of Delhi Belly is off three ironic T-shirt wearing
slacker types (Imran Khan- Tashi the jounalist, Vir Das– Arup the cartoonist
and Kunal Roy Kapoor- Nitin the perverted photographer) who live together in a
dirty ass apartment with bad plumbing, noisy classical-dancing (I won’t try to
guess if it’s Khatak or something else, just take it from me it’s classical as
the teacher is kinda effeminate) upstairs neighbors and a meek prostitute
visiting landlord. Tashi’s airhostess girlfriend played by Shehnaz Treasurywala
(a pleasant appearance after a very long hiatus- I didn’t bother with Himesh
Reshammiya ‘s Radio) asks him to deliver a package, containing a Russian doll
with diamonds, for some shady Russian types. Through a series of confusions, as
is the case with such crime capers, the packet gets exchanged with Kunal Roy
Kapur’s stool sample that’s off to the doctors lab as after he’s eating some
very dubious looking chicken and is suffering from the titular “Delhi Belly”. The
delivery was expected by wise cracking foulmouthed and pretty menacing Vijay
Raaz playing the crime boss. After a firecracker sodomy torture scene (reminiscent
of Dum Maaro Dum’s chili pepper pistol scene) the pressure is on our reluctant
heroes to retrieve the diamonds. There is a lot of running around, quippy
dialogue, snappy editing, a blaring background score, taking you on a wild journey
that all ties up at the end.

The problem is that the ride takes a pretty long time to get
going and before it does Delhi Belly tries so hard distancing itself from the
usual Bollywood tropes and clichés that it starts to revel in its own ugliness,
demanding a lot of audience. We see butt cracks, diarrhea spread out over
velvet and a cacophony of poop noises that after a while just ends up being
stomach churning. The comedic beats in the first half are very erratic relying
heavily in the ability of the scriptwriters to pack as many swear words as
possible. And boy there are a lot of swear words and although the movie is
mostly English spoken, it’s the Hindi dialogues that really work especially
when delivered by Vir Das or Vijay Raaz. The English ones just don’t seem to
sound right. Maybe not all the cast is used to delivering English dialogues and
sometimes the cadence is just a bit off making it lack verbal panache. But
Delhi Belly kicks and screams like a petulant child trying to break free by the
shackles of its expectations and even though it stumbles along the way to before
finding its footing in the second half, the overall the product is very
enjoyable.

Arup’s romantic and professional woes really slow down the
first half of the movie and serve no real purpose to the overall story line.
They also seem to pop and drop randomly. The banana joke, Ja Chudail and Disco
Fighter are funny as hell though helped by Vir’s comedic timing( probably honed
by his years of Stand up Comedy), the girlfriend break up scenes were unnecessary
except to make him get rid of that terrible haircut which we can all applaud. It
also further feeds into Bollywood’s newfound Elvis Jumpsuit obsession.

Kunal Roy is hilarious as the perverted and easy going
photographer playing the equivalent of the Zach Galafanakis role from the
Hangover, Melissa McCarthy in the recent Bridemaids or even taking us all the
way back to Jim Belushi in Animal Farm. In other words he’s playing the
overweight comedic catalyst to the plot. He does have a moment of emotional
redemption at the end which is sweetly played. In my mind he’s a performer than
his younger brother Aditya Roy Kapoor and has much better hair.

Imran’s Tashi as the lead is a tough call, clearly still
very fresh as a performer when this was shot (and you can see it in quite a few
sequences although Imran disagrees when we spoke during our Podcast). Dellhi Belly
is supposed to be Tashi’s hero’s journey but you don’t really understand the romantic
malaise he feels with his fiancée Shehnaz Treasurywala nor do you really root
for his no-nonsense chemistry with Poorna Jagannathan (making her debut in
Bollywood). Somewhere you want him to stand up and just become a man but at the
point it happens you’ve stopped caring for any of his three story treads. Maybe
it’s just the remnant of  Wake Up Sid/Break
ke Baad  slacker types from a couple of
years ago that just don’t want to take a stand in life until the climax of the
movie and audiences (and me!) have gotten annoyed with and latched on to more
testosterone driven masala hero roles like Wanted, Dabanng, Dum Maaro Dum and
soon Singham; But the guy definetly deserves respect for taking such bold choices at the start of his career. Clearly although he has found box office acceptance in romantic roles but the actor in him does want to experiment and do something different which is something that needs to be applauded and in my book puts him above the cookie cutter roles that his competitors take on.

As soon as the gangsters come into the fold, and this
happens quite quickly, the movie finally really picks up the pace and Delhi Belly
starts delivering consistent laughs. The visual style and the awesome
soundtrack that has been rocking my iPod since the first teaser trailer starts
kicking in and as an audience member (and I feel the movie makers) have a
better sense of where we’re going. A lot of Hindi movie fans have an
uncomfortable position towards the Danny Boyle Feel Good Oscar monger of 2008 Slumdog
Millionaire, feeling a lack of ownership towards but it being billboard or
entry point for “outsiders”. (If I only had a nickel for everyone that’s told
me they loved Slumdog Millionaire when conversations veer towards Bollywood). Delhi
Belly tries to cater to the same Metroplex/ International film smug geek audience
but instead of subverting Bollywood tropes as Slumdog Millionaire did it does
so with Danny Boyle’s own Trainspotting mixed with a heavy dose of Tarantino
and Guy Ritchie. A tactic that might backfire as this is exactly the audience
that is very familiar of this type of storytelling and doesn’t mind spouting
their half assed “IT’S A COPY, YAAR”-comments on every possible social media. A
point very eloquently written up on Rajasen Blog which you should definitely read
if you are one of those guys.

Releasing on the same day in India as Amitabh Bachchan’s
return to his angry young man template created in the 70’s gotten in Buddha
Tera Baap, a movie probably ingrained in Bollywood conventions and meta-references.
And although these movies have nothing to do with each other (except releasing on
the same day) and cater to completely different audiences, people will be
caught up in pitching box office returns against each other. Delhi Belly carves
its own path making no qualms of its influences i.e. Snatch and Lock, Stock and
Two Smoking barrels but to me it’s closer to 2002 Brazilian “Cidade de Deus” (City
of Gods) where director Fernando Mireilles managed to transport the Brit
Gangster/Tarantino tropes to the Favelas of Brazil. Delhi Belly does the same
and it does it quite successfully rising above its influences and adding that
desi tharka (seasoning) that adds all the flavor to Indian homegrown dishes but
comes with the risk of giving us the runs.

Sometimes Bollywwod needs a kick in the nuts or in this case a firecrackers up it’s ass! Delhi belly is just that wake up call!

Other Things I really liked

  • Shehnaz Treasury (wala) looked great shitting, bleeding
    out of her nose, almost sexually climaxing  and slapping Tashi (not all in the same scene)
  • Amir Khan’s, Austin Powers-hair wig wearing
    Disco Fighter promo that’s on the air now really worked for me. What can I say;
    the man can do no wrong in my book!
  • The soundtrack composed by Ram Sampath is
    amazing. Definitely a music director to look out for after Amit Trivedi (Dev D,
    Aisha)
  • The Cinematography is lucious even surrounded by all the murkiness
  • Vijay Raaz is a great desi Bricktop!

Some side thoughts:

  • Check out our interview with Delhi belly’s star
    Imran Khan by clicking here!
  • The Adult certificate and the production teams
    numerous warning should really be taken to heart. Don’t take your mommy and
    daddy to this unless you guys are cool.
  • What’s up with all the curly hairdos? (Poorna
    and Vir)
  • Is it wrong to think that chicken that causes
    all the problems did look delicious? I grabbed a KFC after the screening and
    felt something was definitely missing.

Here’s the trailer:

 

Let us know what you thought of Delhi
Belly and our review in the comment section below!

Image Source:

Bollykings

Totally Filmi

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Ready Review

 

The promos have been playing night and day. The pocket pointy dance has become a fad. The public has been waiting for a time pass masala entertainer since January. Salman Khan is riding high after Dabanng and Wanted. Aneez Bazmee is at an all-time low after Thank You and No Problem. No one can even remember the last time Tips, the production company, behind Ready had a bona fide hit. So how does Ready stack up with all these expectations? Check out our review after the jump!

Before I start talking about the movie I have to mention that there are a ton of sponsorship deals, thank you’s and corporate tie-ins that appear before the movie starts.

A special mention to Rahul Rawail Grandson’s logo which is a straight lift from Disney’s The Lion King. It’s probably the first time I actually wanted Disney to sue someone.

But I was hungry to be entertained and more than anything I wanted this movie to work.

Having seen Dum Maaro Dum and Game, both movies I really enjoyed but didn’t tickle my masala craving, I walked in with my pot of strawberry flavored yoghurt into the theatre. I have always made my fondness for Salman Khan clear in even his most dreary outings. Everyone can love the man in Dabanng but loving him in God Tussi Great Ho demands a certain kind of insanity and adulation.

Asin is always a pleasant appearance on the big screen in the few movies I have seen her in and I felt the chemistry she had with Salman in London Dreams was probably the best part of that horror fest.

But I had no faith in director Anees Bazmee whatsoever as I have never enjoyed any of his movies. I don’t like his brand of humor and above all I question his mindset.

To me he seems like lecherous old man cracking inappropriate jokes that gets invited to your house party. You can humor him for a couple of minutes but after that you can or drop kick him out your house or walk away. It’s always a surprise seeing his interviews as the man seems quite sensitive and well spoken. It’s a shame none of his eloquence translates through to his cinema.

Bazmee land is a cacophony of inane puns fired blindly at the audience. Calling them double entendres would be too smart a word. It’s just words that sound like other words (Tu teacher nahi, cheater hai)

The whole scenario is doused with Anees’ usual tropes i.e. mild rape references or hurting women physically (I counted 5), husband cheating on their wives treated as a mild faux-pas (a thread that annoyed me to no end in his previous disaster Thank You, a film where the hero slaps one of the backup dancer in a song for no apparent reason) and just a general patronization of womankind even when trying to endear them. At the climactic fight sequence where we should be cheering on the hero, a throw away joke is made that just leaves a bad taste.

The mind of Anees Bazmee is a dirty horrible conservative place which I do not wish to visit but this is supposed to be a family entertainer which makes it even more worrisome. His brand of humor seems to work though as most of the auntijee’s who had snuck in bottle of hot sauce to pour over their chips were laughing harder than anyone in the audience. And this will make a ton of money which in turn will allow Anees Bazmee to make more of these movies.

Besides all that, he is just an incompetent director. The comedic beats are off, the editing is shoddy and the times Ready beats you in submission and you do start laughing you feel you need to take a long  shower like Elizabeth Shue in Leaving Las Vegas.

I want to try and explain the plot of Ready but instead I have the perfect visual presentation:

 

But if that doesn’t work for you. Here is a summary:

Prem Kapoor (Salman Khan) is a good hearted rascal/kameena/kutta/dog that lives with his joint family of uncles and aunties. All the uncles have a quirky trait so it makes it easier to keep them apart, the aunties are not so lucky. Sanjana walks into their family posing as Pooja (some really old lady waiting at an airport that we’re supposed to believe is a bride to be for Salman Khan) trying to escape her evil uncles who want to forcefully marry her off to their brother-in laws to usurp her riches.

Prem and Sanjana end up falling in love just before the interval. After the interval Prem poses as an an accountant for Sanjana’s mafia uncles and tries to go all DDLJ on ’em in Salman Style via way of a speeded up chase climax a la Priyadarshan.

Don’t you wish you had just looked at the picture instead of reading that paragraph?

The first half is just a slog to sit through. The family dynamic is annoying and the pace is just dead slow. Post interval things pick up and this is solely because the appearance of one man that should be wearing a big ‘S’ on his chest and that man is Paresh Rawal. Everything the man says or does is just freaking hilarious and every scene he has is probably the best the movie ever gets. Too bad he didn’t have a bigger role and didn’t have more scenes with Salman.

The movie just feels very heavily edited and tinkered with. Whole joke sequences and reaction shots are done behind a blue screen. There is even a voice over at the start of the movie establishing characters which substantiates the rumors that the director took a back seat. Instead Salman Khan and the producers tried to readjust as much as was salvageable of the movie. They did try really hard but the whole base is off and there is only so much polish a turd can take.

Character Dheela (Zarine Khan looking very pretty), Dhinka Chika and Meri Ada (Rahat Fateh Ali Khan FTW!!!) are awesome to look at and you do get forget how badly they are placed within the narrative.

The song sequences, the production design, the action which were rumored to be tinkered with are shot lavishly and pretty much the best part of the movie. Especially as this is the moments that Asin can shine as she doesn’t have much to do in the second part of the movie which is really surprising as her character is a real kameeni and churratth (not my words) in the first half.

Salman khan has free reign like a lion that can not and will not be tamed by anyone. He stands, dresses and jokes as he pleases and no man will come between him and his understanding of his audiences.

But our hero can sure pack a punch when needed even if he seems a bit puffier then he usually is. His obligatory shirt taking off scene is even heavily CGI’ed and played as a joke that really isn’t a joke. I won’t say more as I don’t want to spoil the few jokes that did work for me at least.

Your enjoyment of Ready is really dependent on how much you enjoy watching Salman on screen and how much you want to be entertained as you walk into the theatre.

A good comparison is last week’s Hangover part 2, a movie based on a finely calculated scientific formula of laughs per minute and dependent on the appeal and familiarity of the audience for its stars. Like a blind man with an UZI in a dance hall, some jokes are bound to find a target. More than anything this movie is a success in terms of production, marketing and above all timing.

Go in with your expectations set to low, wanting to laugh and if you can go in a group do so as even then you will only have a moderately good time. Damn you Bazmee, Damn you!!!!

 

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Ep 24 LimitLess/ Source Code

Re-Post: Jam Packed Episode of Upodcast this week. We give you 4 movies reviews for the price of zilch! We start of with in-depth review of Bradley Cooper’s first movie as a leading man, Limitless. Did one of our host just pull the race card on Duncan Jones’ Source Code? To wrap the show up we keep our final reviews of the show Scream 4 and Your Higness spoiler-free. This might be one of our funniest shows so listen or download after the jump!

 

 

Shownotes:

  • Limitless
  • Source Code
  • TV shows:
  • Green wing
  • Breaking in
  • What is a Sandwich show?
  • Ahmed Goes Green with an episode of Radiolab- Podcast: “Be Careful What You Plan For”
  • Preview of Green Lantern
  • Apocalyps Now remastered edition
  • Scream 4 (Spoiler Free)
  • Your Higness (Spoiler Free)

Trailers:

[yframe url=’http://www.youtube.com/watch?v=NkTrG-gpIzE’]

[yframe url=’http://www.youtube.com/watch?v=THE_hhk1Gzc’]

As always let us know what you thought of the show in the comment section below! And drop us an iTunes review if you like what you hear! Thanks for listening!!!

 

Upodcast:The Perils of Bollywood fandom and reactions to Tees Maar Khan

NEW SEASON! And we are back from our short break, with an amazing Bollywood episode. This week Beth, FilmiGirl and I discuss the critics/fan reactions to the release of Farah Khan‘s Tees Maar Khan. We delve into many controversial topics and many feathers will get ruffled, so listen to the complete episode after the jump! Read More

Review Tees Maar Khan

Farah Khan’s comic caper has a lot riding on it. It’s Farah breaking out on her own, free from collaborations that were safe bets from within a comfort zone. In some way it’s a comeback for Akshay Kumar whose had a horrible year of releases. And it’s also Katrina Kaif strongest claim for the top Bollywood heroine slot. (if she doesn’t already own it?)

A lot of question surround this movie but you forget about all of that within minutes when Tees Maar Khan theme song kicks in.

I’ll try my best not to spoil too much of the movie as I was fortunate enough to catch an early preview in London; but honestly speaking I could only spoil some of the comedic beats,not much of the plot.

It’s a pretty straight forward masala caper and most of the set up is in the trailers.

Tees Maar Khan urf Tabrez Mirza Khan ,the biggest con artist in the world, is hired to rob a train carrying an immense treasure for a set of conjoint twin “villains”. He also is a shameless plugger of his own name. There was maybe one too many reference to the title of the movie to my taste but all that is not important for what we get is easily one of the funniest and most entertaining entertainers of the year.

It’s what Housefulll wishes it was, what Action Replayy could never accomplish and what Golmaal lies in bed at night crying it could be one day.

First, I would suggest that if you have a chance, go and watch this movie on the big screen. Partly because it’s the kind of movie that is elevated with a participating audience and partly because it needs the big canvas so you can soak up all the gorgeousness in every shot.

I have a pretty good media set up at home but in no way could I understand the awesomeness of Sheila Ki Jawaani until I saw it today.

There were many discussions the previous weeks about which was the best item number of the year: Munni Badnaam Hui from Dabangg or Sheila Ki Jawaani.I am still not sure I have an answer for that question but what I can tell you is that there were moments in Sheila ki Jawaani that Katrina Kaif took the entire audience’s breath away.

It is EPIC and if I could, I would rewind it and watch it again. You might not be able to do that in a cinema (unless you’re Raja Babu) but what you do get in the theatre experience is the full force of Vishal- Shekar‘s “saaand” blaring through the speakers and every minute detail of Katrina’ s performance elevating the song to a whole new level.

In my opinion Katrina delivers the strongest female comedic performance since Kareena Kapoor in Jab We Met. She is hilarious in every scene as Anya Khan the wannabe Starlet/Item girl and I really hope people stop asking her to prove herself over and over again. I think she has been doing that in her recent roles and this is probably one of her bests.

When reviewing our best Bollywood soundtracks of 2010 (click here) we thought that the Tees Maar Khan OST was maybe not the greatest (I am still not convinced of the Sonu Nigam’s Chipmunk voices) but it could only be fully judged when seeing it picturized. And lo and behold I was humming the songs exiting the theatre and want to get my hands on the soundtrack as soon as I can.

Although Salman Khan’s cameo in Wallah Re Wallah is featured in the promos, it still manages to send a bolt of excitement through your spine.

The first half of the movie just breezes by and the second half has a bit of a slower start but manages to put in a lot more heart in the movie.

So now on to the Khiladi. See I’ve always been fond of Akshay Kumar (especially his work ethic and just plain sincerity) but somewhere his lovable loud mouthed buffoon shtick and those indistinguishable Priyadarshan comedies just turned me away from him.

A movie that I unashamedly loved back in the day was “Mr. and Mrs. Khiladi” ,probably not the most discerning of choices, I admit but Akshay was amazing in it. That’s the kind of Akshay we get here. he is again ahead of the world, a real hero character kids would want to emulate (those fluorescent Jersey Shore Shirts can be omitted) . Someone who is witty, funny and confident. I don’t know if he ad-libs some of his lines in that throw away manner but it makes me crack up everytime and actually believe in Akshay as a leading man again.

Unfortunately for my non-hindi speakers the subtitles were not able to catch every joke thrown in but there are so many if you miss one you’ll surely catch the next one.

There are even “Inception- like” levels of joke-within-a-joke which film geeks can play filmi-bingo with. I would suggest inventing a drinking game around it, someone catches a reference and everyone drinks. Even I jumped with joy seeing Anil Kapoor’s most iconic dance and the whole Master India sequence. (Boney for reals, can we get that Mr.India sequel already??)

But you can also just enjoy the movie just as a fun masala caper with great dances and and performances from the lead as well as the supporting cast (woohoo Avtaar Gill!!) and we even get the final sequence where the whole team apears.

Akshay Khanna is hilarious as the oscar obsessed Bollywood superstar, some will claim it’s inspired by Amir or Shahrukh but I don’t see it really or at least nothing to create news stories about but I’m sure that won’ stop people.

There are certain moment that I did feel the ghost of Shahrukh Khan, who was rumoured as the main lead, loom over Tees Maar Khan. In some of Akshay’s hero poses, comedic repartés and even some of the choreography, you can can almost imagine what Shahrukh would have done with it. Even a few of the sets and décors were eerily similar to Om Shanti Om. But although fun to speculate that’s just context with no real importance to the film.

All in all I think this movie is a great move for Farah, Shrish Kunder and her production company in developing her Manmohan desai style even further. I am truly looking forward to her next paisa vasool flick but until then: go watch Tees Maar Khan on the big screen NOW!

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Review: Rare Exports – A Christmas Tale

When I heard the words “Evil Santa movie” I was sold. The trailer was smart, brooding and promised a very dark film twisting the usual conventions of the annual bearded gift giver. So does this Finnish flick -that’s receiving some excellent reviews- live up to the promise? Check out our full review after the jump! Read More

Review: Due Date

Director Todd Philips follow-up to the unbelievably successful Hangover is a re-imagining of the Steve MartinJohn Candy classic: Planes, Trains and Automobiles. But this time it’s Robert Downey Jr and Zach Galafanakis taking the main leads. Due Date is a Road trip comedy  as most of Todd Philips’ filmography where Robert Downey, who plays a grumpy architect, needs to get to his wife’s delivery room in time for the birth of his first son. But that is until his paths cross with Ethan, a hapless wanna-be actor travelling to LA, a man who has quirks galore.

No matter what the publicity machine says, Due Date is certainly not the funniest movie of the year. I would go as far as to say it only has a handful of jokes. I think I counted 5.

There is a general consensus that Robert Downey Junior is awesome in everything he does but in Due Date he is relegated to playing the straight man to the quirky Galafanakis who plays his usual self with some added campiness that is never directly addressed. Ethan (ZG) wants to go to “Hollywood” to work in Two and a Half Men which is his favorite show and he carries a masturbating dog in his handbag.

There are quite a few gags set up that go nowhere and the comedic beats are very uneven. Some jokes start off as moderately entertaining but end up with a melodramatic punch line which just leaves the audience confused. Even the cameos from the likes of Danny McBride (Kenny Powers from Eastbound and Out) have no real pay off.

After the initial ruckus on the flight, the duo land up near the Mexican border playing on some themes from recent news stories i.e. paranoia of airline security or hardened stance on Mexican immigration but the writers have chosen to go for gross out moments instead of trying to say anything of relevance or funny.

The movie relies on the chemistry between the leads and the main leads are clearly enjoying themselves unfortunately this is not the case for the audience leaving. The remaining cast members are  un-etched characters. Michele Monaghan plays the exact same role as the bride in the Hangover which is screaming on the phone and asking where Downey Jr’s character is and why he isn’t arrived where he was supposed to.

The one positive I did take from the movie is that Galafankis is a competent dramatic actor especially in a few scenes where he has to show heart and doesn’t hide behind they quirkiness and weirdness. Too bad the audience wasn’t expecting this and laughed when they maybe weren’t intended to. (but then again who am I to judge when you should or should not laugh)

You will forget everything about Due Date the moment you leave the theaters and maybe that’s for the best.

Go watch Planes, Trains and Automobiles or even Between Two Ferns Zach Galafanakis webseries in you want more laughs!

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Review: Lafangey Parindey

Lafangey Parindey (directed by Pradeep Sarkar ) is the product of a confused studio,Yash Raj films. Once the most illustrious production company in India now a factory of cookie cutter, bland and utterly forgettable products. A studio that just doesn’t understand anymore how to recapture their old glory and Lafangey Parindey is the another final grasp of desperation from  a man trying to hold on to anything he can whilst plummeting to the debts of mediocrity, this movie is basically Hans Gruber falling off the Nakatomi building!

Our fiend Ness from ShahrukhIsLove  and I decided to do a double review for this movie as we stumbled across it on the same day and decided/were forced to watch it.

You can find her review here which is a great piece of writing although I do not agree with much of it. Ness found a lot of enjoyment out of Lafangey, I unfortunately found almost none.

To summarize the plot, Nandu is a sweaty, grease-laden underground fighter with heightened extra sensory perception or an acute sense of smell (must be one of the two as he can knock out his opponent blind folded with one single punch).  Before the movie starts( in the part we don’t get to see), he hires a team of communication consultants to come up with the perfect catchy nickname which would look good on  billboards and publicity hoardings as well give him exactly the right street amount of cred for his homies and peeps who he enjoys taking motorcycle rides with.

 After holding focus groups, in depth motivational analysis and finally a Don Draper-type eureka moment they came up with the name “One shot Nandu” and there was much rejoicing. Armed with a snappy nickname, his band of motorcycling cronies and his desi-street lingo dictionary (although nothing of Govinda level: “Haata sawan ki ghata kha khuja ke batti buzhake soja nintukale pintukale..Raste pe khadeli Anty bajarahi hain baar baar ghanti..atale watae shaane..Kulla ghuma ke pashchim ko palat..phutale watale shaane..”-Deewana Mastana) Nandu is ready to take on the world if he can find time between some horribly choreographed dancing and inspiring a few precocious SlumDog Millionaire-rejects.

One Shot is student of the Bobby Deol’s school of boxing, he decides that you don’t need to tone or train any part of your body to be a professional fighter. Just a few pushups here and there suffice!

He feels a promotion is well deserved wants to take the next step career wise to major league Goondabaazi so he asks Anna (the criminally underused Kay Kay)  to take him on his next Goonda related assignment.

Pinky is from the same neighborhood  as Nandu and wants to use her skating ability to skate her way to a better life by taking part in India Got talent. Pinky is very tall and her arms and legs are all over the place. She is clearly not a quitter and can be as foul mouthed as the rest of the Basti- gang, these facets of her personality will be highlighted incessantly throughout the movie.  She gets run over by a car in a scene very reminiscent of Brad Pitt’s death scene in Meet Joe Black and loses her ability to see! (Can someone edit both these scenes together?- it might be bigger than the keyboard cat!)

So what happens next?

Will Pinky manage to find a dance partner?

Will Nandu be able to come to grips with his guilt?

Will they fall in luuurv sweet luurv?

Let me save you the trouble of actually watching this arduous journey of a movie by saying: of course they will. To quote The Zohan:” I have seen this. I have done this. You don’t want this”

This movie is filled with Tarantino-esque movie references or  Anu Malik type “inpirations” but since the performances by the leadcast are pretty monochromous It is never clear which is which.

Here are some of the blatant déjà vu feelings I had explained through the magic of math!

Lafangey Parinday= (Rab ne banadi Jodi) x Ghulam /(The Killer+ Naseeb) x −Raju Ban Gaya Gentleman

The point being we have seen this movie already a million times and Pradeep Sarkar’s treatments adds nothing to the journey we take with these characters. Every beat is predictable and every dialogue uttered by the lead pair sounds false.

I don’t know about these new actors lately, they are not able to convey true passion in their performance anymore, I just don’t believe these people have any true feelings for each other.

ShahRukh Khan always claimed he can romance a tree if needed, I just don’t see the same ability in the new Brat Pack of boys and girls and I do miss that essential Bollywood component to give me a full massala flavor. That chemistry between the lead pair is completely lacking between Deepika and Neil.

I worry for Neil’s career, although likeable, I don’t know what he can add to the Bollywood hero roster especially as the buzz around Jonny Gadaar has now completely died down and  being a Hrithik Roshan  look-alike  isn’t the best way forward. We know how well the Hrithik references worked for Harman Baweja’s career-ZING! (They do reference his resemblance again in this movie which I don’t see but I never really do, maybe coz I knew a lot of twins growing up…)

Deepika, I worry less about since she’s quite easy on the eye which seems to be the most important factor of succes in bollywood movies, and if Priyanka Chopra can win a “best actress” award there is hope for Deepika. Plus she plays a blind girl which means she can mostly look away and stare blankly which she does pretty well.

So the story is old, treatment is bland, the setting and look is corny, performances are unconvincing, there is no chemistry between the performers,  the CGI in the skate performances have the most jarring visual effects I have seen in ages almost close to Game of Death-level  work. (A movie completed with left over material after Bruce Lee’s passing away, google it! It was painful)

What I did like about the Lafangey Parindey was Kay Kay’s performances, which was blink-and miss ni length but it made me at least take note of what was going on and beggars can’t be choosers. the other was the song “Man Lafangey” by the always excellent Mohit Chauhan. The production values are high but it’s covered with the same YRF gloss that makes all their movies look exactly the same. Yash Raj films needs to fire their entire art department for being lazy for the past 12 years and then read this article by Cracked: 5 Annoying Trends That Make Every Movie Look the Same.

I’ really have been racking my brain but that truly is it!

Also if you want to see convincing fight scenes filmed in grizzly grey tones since that’s what the movie poster promises us, watch this underwear ad starring Salman Khan.

Lafangey Parindey? More like disease infected pigeons!

If you agree or disagree, leave us know in the comment section below!

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TV Special: Fall US TV Preview

The Big Podcast for the small screen! This week we catch up with all of our favorite TV shows. The gang previews some of the new shows on the block  (Boardwalk Empire, Outsourced, Nikita) , we catch up with some of the regulars returning for another season( Mad Men, Dexter, 3o Rock,…) and we finish off discussing some of our favorites, and especially how the Shows that debuted last year are holding up ( Community, Glee, Modern Family). Listen to the full episode after the jump!

You can always drop us a mail with thoughts if you agree or disagree or show theme idea’s on feedback@upodcasting.com

And of course you can follow us on Twitter/Upodcast or Facebook/Upod Cast!

Listen or download the podcast by clicking below!

The music featured in our show is Steve Porter’s Community Remix.

One of our favorite shows!

We Review/Preview the following shows- let us know if you have a favorite that we forgot!

Nikita, Community, Boardwalk Empire, Outsourced, Running Wild,  30 Rock, The Office, Dexter, Bones, Castle, Sherlock, Modern Family, Community, Glee, How I met your mother!

The show is jam packed!

We discuss the awesomeness of Community and why it hasn’t crossed the atlantic yet! ( Update Community is now showing in the UK on Viva-YAY!)

We bash Outsourced for being lazy and re-enforcing cultural stereotypes.

We also discuss possible replacements for Steve Carrell in The Office and some surprising names!

and Martin rants about US shows going on for too long!

Let us know what you thought of the show in the comment section below!

 

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UpodCast Dabanng Special

Like Salman Khan, UpodCast walks it’s own beat. This week we dissect the phenomenon of Dabanng joined by friends of the show Filmigirl and Anandini. We extensively review the movie, ask ourselves if you need to be a Salman Khan fan to enjoy Dabanng to the fullest, debate the return to massala entertainment,  rave about Sonakshi Sinha and also discusss what a potential sequel could look like.  Oh, if that wasn’t enough to salivate your earbuds,  we also discuss the  forthcoming releases for the rest of the year! For all this and much much more, Listen to the episode after the jump!

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Episode 14 UpodCast Mid Year Wrap Up 2010/ Sci-Fi Review Timecrimes

The Upodcast team takes a look back at the first half of 2010. We go over our favorite flicks, our biggest dissapointments and take a look ahead on what’s yet to come. We also review the Spanish SciFi TimeTravel movie TimesCrimes (Los Cronocri­menes-2007) directed by Nacho Vigalondo. Check out the full episode after the jump!

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Bonus Episode Bollywood Mid Year Wrap Up 2010- Upodcast

Here is the Voltron of all Bollywood Podcasts. Combining the powers of Beth from Bethlovesbollywood, Katherine from TotallyFilmi, Kara from Filmigirl and Bollyspice and a lone Asim sans his usual co-hosts, this bumper episode of  Upodcast  goes through the best and worst  of 2010. No punches are held back and no performance is safe. we review the prominent releases of Bollywood give our take on Twitter Celebs, The Bikini issue and a look forward to  the rest of the year. Listen to this EPIC episode after the Jump! Read More

FilmBlog: Review My Name Is Khan

My Name is Khan… and I’m not a terrorist.

A line spoken many times in this movie by Indian Superstar Shahrukh Khan, playing a good hearted Muslim man suffering from Asperger’s Syndrome, resonated with me in a very strong way. It’s a feeling that I have tried to utter many times but this movie manages to do so very simply.

I have been racking my brains on how to approach this review.

I could talk about it from a Muslim point of view, living in a country that is not my own and the struggles many of my similarly skin-toned brothers and sisters have to battle. Unfortunately I’m not that good of a Muslim so my arguments could be completely invalid and I don’t want to proclaim to be a victim when my own parents went through a lot worse in their days. I’m sure  Chris Rock has enough clips on Youtube to illustrate my point.

I could approach it from the angle of a Bollywood aficionada that can finally recommend a movie that is in general release thanks to Fox (apparently even the evil empire can do good sometimes…) and that the general audience can watch as maybe their first Masala experience (which Slum dog Millionaire wasn’t although it had brown hewed people in it dancing)

I could write as a critic of Hindi Cinema tearing down any inconsistency I was able to pick up on, be it the slowing of pace post-intermission, the horrible broad strokes that every non-Indian character is painted with or the lack of a riveting climax.

But whenever in doubt, I take a scattershot approach, try everything at once and fail horribly in the public eye. Yes, that is how I (Jelly-)rollz.

The route I choose to take is the one this movie tries to take… the human route, taking away all other details to bring things back to a core message, one that our protagonist is taught by his mother played wonderfully by yesteryear ( I do hate that word) actress Zareena Wahab.

There are good people in the world that do good deeds, and evil people that do evil ones. There is no further difference, be it religion, race, creed or culture.

I loved My Name is Khan for its message and intentions. It’s so good hearted it can be forgiven for its overt sentimentality, dramatic music and dialogue cue’s. This story of Rizwan Khan who has trouble connecting with the subtleties of day to day life (some may argue that this movie has trouble with cinematic subtleties but you did sign up to watch an Indian movie). Although he suffers from Aspergers he is a very bright and ingenious thinker, comparisons with Rain Man don’t hold up as he isn’t playing an idiot savant (plus his brother never kissed Mia Farrow). Forrest Gump would be a more apt comparison but only for the second half of the movie.

He takes his simple message to San Francisco moving in with his brother and Sister in Law. Where he meets and falls in love with Hairstylist/Single mother Mandira (played by the always delightful Kajol). The repercussions of 9/11 create a rift in their love story causing him to undertake the mission of going on a road trip to meet the president of the United States to tell him that one simple message… My name is Khan and I am not a terrorist. On his road his good heartedness affects a wave of people along the way leaving the audience a blubbering mess.

Shahrukh Khan is always entertaining; his charm (as recently seen on Friday Night with Jonathan Ross) carries this picture to an emotional but underwhelming conclusion. It’s the little moment of charm that make you fall in love with Rizwan Khan and you end up completely buying into his quest. You feel for his character, the frustration he feels of not being to express his emotions and the love he feels for Mandira.

Overall the performances are great by most Indian actors. I could watch Kajol read the news and I would be glued to my screen, both Jimmy Shergill (playing the role of Rizwan’s frustrated younger brother, this would be a character you would have in any other movie but Jimmy carries it off because he is that damn good) and Sonia Jehan (almost makes me want to see Taj Mahal, her first big screen appearance… almost) are great in their small roles and I would have loved to see more of their struggles. Mostly the focus lies on Shahrukh character and his wonderfully understated approach on a subject matter that might not be appealing from the get go.

Cinematography by Ravi Chandran is beautiful, costumes, art direction and music are of vey high quality but I won’t be putting this album on repeat, it’s just not that kind of album.(special mention to Sajda by Rahat Fateh Ali Khan, hear me rave about him in episode 5 of UPODCAST)

The few points that work less for me are:

All performances by non Indian actors, or they ran out of budget and got actors that aren’t of a much higher caliber than an average porn actor or Karan Johar was unable to direct them in the proper manner.

Listening to Kjo’s interviews it does seem he is hands on with most actors except Shahrukh Khan( as Khan doesn’t want to listen to Karan) so I think the failure does lie with his character design. Another example of this is Kajol’s motivation in the second half of sending Rizwan off on his quest, which seems too abrupt and contradictory to me even if the tragedy she goes through is very real.

The stand out scenes for me where the entire romantic track between Rizwan and Mandira from their meeting until the interval point. There chemistry is still the strongest romantic pairing in current Indian cinema.  The segments of Rizwan growing up in India and the confrontation he has with some of the more violent Muslims in the US mosque are riveting.

It’s great to see a moderate voice take on some of the people that are usually the more vocal (and maybe “insane”) part of the Muslim community. And the words he says are onspoken by many of us have had but have not been shown this way on screen.

What works less is the CGI both in the Georgia flood scenes as in the key moment Mandira and Rizwan fall in love. It made me think of a discussion going on about Titanic and how after AVATAR James Cameron claimed he would do the entire movie in CGI.Even the sunset on that famous kiss scene between Leo and Kate would be CGI. I think if he was able to do so we would have lost out a lot of the power and exactly this power is what’s missing in the scene where Mandira decides to marry Rizwan and bring him into her and her teenage son’s life.

The ending doesn’t work for me because of the casting. The portrait of the president is very jarring. And altough the president of the US is never named specifically, the movie just looses steam.

But I would urge you to seek out this movie as since it’s been distibuted by Fox it does have a wide release and it’ s an unbelievably fresh approach to issues that really do affect all of is.

The message of hope it carries, needs to be heard, needs to be listened to…

My Name is Burney, and I freakin’ loved this movie!

http://www.youtube.com/watch?v=5Ruf0iEMT6M

http://www.youtube.com/watch?v=GKV954bHZJY

If you manage to catch My Name is Khan, let us know what you thought of it on feedback@upodcasting.com

http://www.youtube.com/watch?v=5Ruf0iEMT6M
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Bonus episode: a post-apocalyptic Postman!(and a discussion about Futuristic Movies)

OK folks, roll up roll up!  Time to tide you over with a Bonus episode! Join the Upodcast team go mainstream and worship at the altar of one Kevin Costner…  Postman style.

The gang discusses the demise of Kevin Costner’s career and our top Post Apolcalyptic and/or Dystopian Future Movies. And why The Postman deserves it’s place in Pajiba‘s list of most cheesy movie moments!

You can also find the trailer here, although a trailer for this 3 hour film can’t do it justice 😉

http://www.youtube.com/watch?v=oQWbz5CNwHQ&feature=player_embedded

You can send us your thoughts on feedback@upodcasting.com and you can also follow us on Twitter!

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Filmblog: Review Brothers

A story in my book is effective if it makes you feel something that you have no first hand experience with.
Indiana Jones puts you in peril and makes you feel the advernture of being a hero (and a life long urge to wear dirty shirts and learning how to use a whip), Annie Hall puzzles you with the heartbreak of a relationship that was never supposed to have “a happily ever after” and you reflect on your failed attempts at finding love.
To me Brothers succeeds in it’s way it makes me feel how it must be to have a brother.

A bittersweet mix of trust, competition, love, jealousy and an unbreakable bond that you can only understand if you have one, and if you dont you realise that this is something you have been missing.
Looking at this Jim Sheridan directed family portrait of the effects of war and the attrocities inflicted on the soldiers and families stars Spiderman, the little girl from Leon and Donnie Darko, not a cast you would expect to deliver the kind of performances you see in this movie.
In a way you could say this reminds me of an alternate take on The Hurt Locker, If Jeremy Renner had stayed home and he had had a brother and Queen Amidala as his sweater wearing wife.
Tobey Mcquire’s character plays a Soldier caught and tortured during his mission to Iraq, his family thinking he is dead, reluctanlty decides to continue with life… But how do you deal with the reopening a closed chapter, how you deal with guilt and if anyone ever does return from War or have we lost these soldiers for ever as soon as they are captured.
The movie succeed for me as it avoids most of the melodrama that you might expects reading the synopsis and avoids most of the clichés associated with love traingles (which this movie really isn’t), the cast is amazing (special mention Bailee Madison playing the black sheep daugther in the final dinner scene, her tears are heartbreaking) and the direction is measured and restrained.
There are many subplots that aren’t explored to their fullest but that adds greatly to making these character feels real.

This movie was on the best of list 2009 for many film critics most notably Adam Kempenaar from Filmspotting.
I caught up with it only know because I think the failure of this movie ultimately is the inability to market it properly.
It’s not what you think but what it is is gripping and makes you revisit this world and characters many times.

Check it out as this movie will pass under most people’s radar and currently only has a 58% Rotten Tomatoes score.
I would urge you to trust in the ability of Jim Sheridan to tell a gripping story and a chance for the cast to rise above their image.

Here’s the trailer that in my mind doesnt give the movie it’s right due.

Let us know what you thought of Brothers on feedback@upodcasting.com

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Episode 3 The 80’s Classics- Midnight Run

After India and New Zealand, you will travel back in time to 1988 to check out Robert De Niro (in his Golden Globe-nominated performance) as a bounty hunter and Charles Grodin as his prisoner! Check out the trailer for Midnight Run below

 

First let me take you to our world of underwhelming trinity¦

Asim this time shares with us The 20 Best Canceled TV Series

Marty will be talking about building the ultimate database of sampled music and cover songs on WhoSampled!

And I will be introducing to you a new and futuristic side to Laptops to come!

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Episode 1 Bollywood – Kaminey!

The Under Promise Over Deliver Podcast- a weekly dose of small ticket entertainment!

A podcast with 3 distinctly different voices:

Ahmed -PopCorn- K loves his blockbuster entertainers Michael Bay , animated movies and anything with big explosions

Party Marty C has a more discerning taste raning from Ingmar Bergman to a deep love of everything Bond related

And Asim hasnt come across many movies he hasn’t liked in his life: from Kurosawa, to the latest Bollywood movies. He has only walked out or turned off 2 movies EVER in his life.

 

The first ONE – Kaminey!

Welcome everyone and let’s get started!

So, for our UPOD casting first episode with Ahmed, Asim and Marty we will be kicking it with Kaminey!

You can always check out the Kaminey’s trailer!!

http://www.youtube.com/watch?v=gh0yCd5z77A

 

But before we get into that, let me take you away from the movie scene and introduce you to a little something that we call the Underwhelming Trinity, each of us will talk to you guys about something new, forgotten about or simply something that is kick ass!

Are you ready to get underwhelmed!!

This week, Asim will be discussing an interesting point of view on laugh tracks in sitcoms and how much they annoy him!

Party Marty will be talking about some of the best absinthe-films of snowboarding around; check it out!

And last by not least, I will be talking about the new Nokia 4G concept prototypes!

You can always e-mail us at feedback@upodcasting.com or on Ahmed, Asim or Martin’s mail. Join us next week for a brands new episode and an underwhelming experience!

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