Reviews by Aseem Chhabra from Rediff
Don 2 is beautifully shot, well lit and has a very clean look, whether on the streets of Berlin or inside the studio, thanks to Akhtar's terrific cinematographer Jason West. But then, as with many good intentioned, and technically well crafted Bollywood films, Don 2, fails in the key test. Akhtar is definitely one of the smartest filmmakers in Bollywood, but this time he presents us a story, plot and script that is dull, almost boring. When we are not seeing Khan's swagger, or hearing the hip upbeat background score by Shankar Ehsaan Loy, Don 2 starts to lose steam.
I do not know why Jha made Aarakshan. But I wish a better director would make a film that questions why India's students have to wake up at 5 am to prepare for their examinations. Why is it that every student in Aarakshan takes prep classes -- additional tutorials over and beyond what they learn in schools? There is something seriously wrong with India's education system and Aarakshan unwittingly points to that problem. And that is its only contribution to any debate in India.
Singham is packed with a lot of bone crunching sounds, and loud action moments. Gone are the days when Bollywood films just featured dhishum-dhishum in the fight scenes. Now there is every possible jarring loud sound one hears, as Singham whips up the bad guys with his belts and smashes their bodies on the ground, against walls,. The fights are long, painful and yet fun to watch. But I never understood why with all the beating they take from one man, none of the bad guys are even slightly injured. There is no bone broken, no cut, not even a bruise. There is violence and yet no after affect of violence. And I am sure that is fine for the Indian censors.
The film has some really clever writing and is ably director by Abhinay Deo who seems to be having a blast making the film with his ensemble actors. But what appears smart and fresh also starts to get a bit tiresome in the second half -- especially the toilet humour and loud crude sounds of a character passing gas. Such humour sometimes works in the Farrelly Brothers' films -- from Me, Myself and Irene to Hall Pass and also in the Harold and Kumar franchise. But this is new territory for Indian cinema.
What works in TMK are some of the song sequences. Sheila Ki Jawani and the qawalli Wallah Re Wallah show that Khan still has the knack to stage songs -- from choreography to costumes and production design. In Khan's first two films, the songs were an integral part of the narrative. But in TMK, the songs are forced and that is just bad cinema.
Aashayein works like many of Kukunoor's successful films -- unique stories that start with good intentions, but eventually the treatments amount to nothing spectacular.