Funrahi Movie Reviews

BHAAG MILKHA BHAAG is sure to win accolades, admiration, respect and esteem, besides emerging as a champ. Reserve the applause for Milkha Singh and the team behind BHAAG MILKHA BHAAG. Give it a standing ovation!

Bhaag Milkha Bhaag will have you captivated with its grit and enigma. Made with panache, it’s hard to take your eyes off Farhan Akhtar, who enriches Milkha Singh as a surreal charismatic figure beyond the realms of flesh and blood! This one is so moving and scintillating that such films are a reward to the audiences for bearing through the fiascoes!

'BMB' pulsates with the storyteller's sheer passion all the way to the finish line. While you are on-the-run, pause to watch this one.

Susi Ganesh has attempted to 'Bollywoodize' his first Hindi film (remake of Tamil film Thiruttu Payale). Desperately throwing in Munnis, Sheilas & Jalebi bais - of Kenyan origin. There are twists and (blind) turns, over-dramatized scenes with little shock value that's mostly predictable. The supporting cast and dialogues (sample this: "Ek baar karogi toh galti lagegi, baar baar karogi toh style ban jayega". Oof!) paralyze the feeble screenplay. Kenya is well shot; action junkies may enjoy some fight sequences and the climax saves the day. The songs puncture the pace and the plot doesn't pulsate with the edginess of a thriller.We wish the director had found a shortcut to tell this story of love,(extra-marital) sex and dhoka.

Rich man's wife takes a roll in the hay with a third party. Said roll-in-hay becomes an instrument of blackmail. Blackmailer and blackmailee take turns in trying to outsmart the other. Turns out that the filmmaker has been the smartest of them all, having managed to make a film like this one, and get it out in theatres for the unsuspecting punter to walk in. Suffice it to say, I wasn't feeling very smart when I left the theatre after two and a half hours of this drivel.

SHORTCUT ROMEO is a well-made, stylish crime story with high-voltage drama as its highpoint. It may not boast of A-listers in its cast, but it has ample entertainment and edge-of-the-seat moments to offer. I suggest, give this one a chance!

Just when you thought that Bollywood had (slowly, but steadily) matured in its take on love, director Aanad L Rai quashes our faith with a shockingly outdated love story. Set on the rustic bylanes of Benaras, 'Raanjhanaa' is unimaginatively archaic and extremely convoluted that it gives love a bad name. Pitching an outdated love story that could've (probably) worked in the 90s, is a sure-shot hint at box-office disaster. Take our tip. Skip this one.

RAANJHANAA encompasses romance and myriad emotions most wonderfully, besides bravura performances and a popular musical score from the maestro. A film that touches the core of your heart. A film that's definitely worthy of a watch. Not to be missed!

Raanjhanaa is a love story that has a Shakespearean touch and is mounted on a lavish scale. Set in Benaras, in a sense, the heart of India, the first half in the vibrant city where the Ganges flows, just sweeps you off your feet with its colour and feel. All of a sudden, Raanjhanaa seems like two different films. In the first half, it is an interesting, intense, introspective love story, where you empathise with the characters. In the second half, the love story gets diluted to make way for gobbledygook political ideology that is an irritant. Note: You may not like this film if you cannot digest brooding love stories.

The film intends to be part hospital procedural, part courtroom drama, with a dash of chase-and-hunt thriller, all very Robin Cook-ish. The clash between an all-powerful doctor who has lost sight of his primary purpose of saving lives, and the intern who is willing to lose everything in the fight for justice should have made for cracking drama. But Ankur Arora Murder Case never really gets there, suffering from banal script-and story-telling, and amateurish acting.

Ankur Arora Murder Case is not an atrocious film, but is gravely disappointing. Wasting actors like Tisca Chopra and Kay Kay Menon along with making a spiced up version of true life incident of a death of a child due to medical negligence, the film is a sure damp squib for me.

ANKUR ARORA MURDER CASE illustrates and spotlights on the gaffes in the medical profession most persuasively. A heartfelt effort that deserves to be watched!

Fukrey is a smartly directed light comedy of four loafers - Hunny, Choocha, Lali, and Zafar - with modest ambitions. There's a lot to like in Fukrey. It sticks to the subtle and shies away from the tomfoolery and slapstick you've come to expect in films of the genre. However, a few shortcomings keep Fukrey from hitting the bullseye. The crises in the love stories are unconvincing and easily overcome as is the big hurdle in the climax. Fukrey captures a similar spirit, albeit in a very different flavor and the small film experiment about life's trivialities manages to entertain for most part.

Fukrey' is one hell of a laughter ride. In this age of cheesy and cheap comedy which the Hindi film industry is now so (in)famous for churning out, this one – ‘Fukrey’ – despite shouting out ‘Going Cheap June 14’, is thankfully not so. The film is packed with neat amounts of laughter-inducing funny moments and one does not have his/her attention wander off for even a fraction of a second. Watch ‘Fukrey’ if you crave for generous dollops of laughter to colour your weekend up… Go cheap! Three and a half stars for Mrighdeep Singh Lamba’s handiwork!

Fukrey was a film that heavily disappointed me! As someone who went loaded with expectations, I did not see any honesty in the shallow plot hurriedly translated into a movie. With shabbily etched out characters and their largely flimsy issues, it is the lack of adequate depth in the story that digs its grave.

The Deols made Yamla Pagla Deewana watchable because we bought their tomfoolery and goofiness that seemed enjoyable and natural. But the second part is laced with so many ridiculous moments, dialogues, sketchy characters and unflattering camera angles that you hope the family has a better hold of the franchise the next time around. Neither funny, nor witty, YPD2 looks dated and feels half-hearted in its attempt to cater to the family audience. They definitely deserved so much more!

The unconvincing and dragging narrative, though served with judicious dosages of action and humor fails to evoke anything substantial in the audiences. Sunny Deol as the Punjabi version of Rajinikanth is the only satiating element of the film! The antics are indigestibly over the top and fail to keep the audiences engrossed! Any day the prequel is a better version and sadly this film couldn’t retain any good from its last edition. Not Deol'ed out this time!

'Yamla Pagla Deewana 2' is overlong and repetitive, and doesn't offer anything particularly original or inventive in terms of comedy. I'm going with two out of five. It's a pity the jokes run out faster than your popcorn does.

You're going to watch YJHD if you haven't already. You're going to watch it for Ranbir dancing to the sprightly Badtameez Dil and you're going to watch it for Deepika in her cutesy glasses. Let's just say if your expectations are in check, you won't be disappointed.

Director Ayan Mukerji’s second outing at the Box Office, after 'Wake Up Sid', is light, frothy at the primary level – and delves somewhat into the deeper recesses of human emotions at the secondary level. However, one thing emerges tall – 'Yeh Jawaani Hai Deewani' is an extremely pleasant watch. In a nutshell, 'Yeh Jawaani Hai Deewani' is no heavy or preachy business. It is meant to be enjoyed and it does its job well. Apart from a few parts where the pace of the film drops badly, Ayan Mukherji’s handiwork is a breezy, enjoyable one.

Too long by at least twenty minutes, this is a watchable film despite its conventional arc. If light-hearted mush is what you're seeking, you're looking in the right place.

Exists purely to showcase how idiotically over-the-top action sequences can become when annoyances like gravity are tossed to the side.

Some of the action sequences are insane. No, really. Absurd, impossible, physics defying, triage-required stuff. No matter. That's the foolish rush of a franchise that must go faster and faster and furiouser and furiouser.

Ludicrous, but undeniably fun and surprisingly affectionate, this is really all you could ask of a car crash movie, and more.

This final installment in the party-boy franchise... wisely drops the narrative gimmick of alcohol-induced amnesia that made the first movie so unusual and the second its pallid copy.

If only what happened in Vegas had stayed in Vegas.

The Hangover Part III is an obvious example of how wrong things can go when the almighty dollar is allowed to rule what comes out of Hollywood.

Downey is at his superhero genius best here, rattling off dialogue both clever and boilerplate with non-repetitive aplomb.

Far too much of this movie - like Tony's new toys - is running on remote control.

After a while, the steady diet of tongue-in-cheek starts to taste monotonous as day-old gum.

This is the sci-fi movie equivalent of a pretty damn good cover band.

Glossy, derivative, ambitious and fatally underpowered.

The story eventually devolves into a grab bag of sci-fi tropes but, as with so many other Cruise productions, the sheer scale of everything is so mind-numbing that you may not notice.

It's supposed to be funny, but you'd have an easier time reading a zombie's pulse than you would finding a single good laugh ...

Like so much of this whole series, the mere mention of a familiar pop culture figure or title is supposed to be hilarious.

A hate crime against cinema, a ringing indictment of the depths commercialism will go to in search of the lowest common denominator.

"There wasn't a moment during this movie when I was thinking about anything other than this movie"

One of the rare films that directly responds to and expresses modern anxieties.

A deeply flawed motion picture containing moments of brilliance that illustrate its strong thematic content.

"This is a competent but mostly unexceptional film about a most extraordinary man."

This story inspires and entertains with a vital chapter in this nation's history.

The filmmaking is TV-movie-of-the-week dull and Robinson's ordeal is hammered home to the exclusion of virtually everything else in his life.

Boyle loads his movie with so many snazzy effects that we lose sight of what it all means.

Danny Boyle's trippy, Inception-like thriller is a hypnotic head trip that demands you trust no one.

The dreamy unconscious in Trance seems haphazard, frenetic and often meaningless.