Padmaavat Movie Review



Set in an era where a certain race, Khilji is trying to overtake Delhi leaving their mark as champions. Alauddin Khilji (Ranveer Singh) – a crazy king goes into a war with full throttle against Rajputs for his one mad wish. The beautiful side of the story has an almost perfect love story of Rani Padmavati (Deepika Padukone) and Rawal Ratan Singh (Shahid Kapoor).

A perfect couple living a perfect life until a dark cloud named Alauddin Khilji starts hovering over their life. Revolving around the life of these three people, Padmaavat is the story of love, war and madness. The face-off between these two kings and how they stake everything over one mad wish.

Padmaavat Movie Review: Script Analysis
Written by Sanjay Leela Bhansali and Prakash Kapadia, this surely is Bhansali’s toughest work till date. From portraying the insanity of Ranveer Singh to keeping everything under a line as far as Rajput sensibilities are concerned. It’s so brilliantly written film, even the dark situations have an underlying touch of humour.

Retaining the Bhansali trademarked royalty, there shouldn’t be a need to say how jaw-dropping’ly beautiful this movie is. Building up the template of beauty vs dark in the first half, Bhansali shifts his focus on the war in the second. No complaints from the script but yes, the editing could surely have been tighter. Plus, there are some serious loopholes with Shahid’s character but Bhansali takes the liberty of calling him a Rajput.

Padmaavat Movie Review: Star Performance
Ranveer Singh as Alauddin Khilji is one of the best performances to come out of Bollywood. His wicked smile at the most uncertain times and the manners in which he presents himself are written so well. Ranveer lives the character so well, he’s set to bag in some major awards this year.

Deepika Padukone portraying the character on which the entire story is based forces you to want more of her. She has looked at her stunning best in this one and totally justifies the glory of Rani Padmavati. I felt she had a lesser screen presence, but whatever she had was exhilarating.

Shahid Kapoor has roared his presence but lacks an excellent writing for his character. At some point of times, it really feels unbelievable to believe what his character is doing.


Padmaavat Movie Review: Direction, Music
Bhansali! We love you. No matter what is the result of this film, please don’t stop attempting such subjects in future. I know this has not been a smooth experience but trust me the results will motivate you to not stop. This man has attempted something anyone would think nth times before even thinking about it.

Ghoomar looks more beautiful on big screen but a song that takes away the cake is Khalbali. Better than the likes of Tattad Tattad and Malhari, Ranveer takes the video of this song to another level. Background music infuses goosebumps and it’s there throughout the film. Though I wish “Rani Sa” score should have been used more.

Padmaavat Movie Review: The Last Word
Watch Padmaavat for its grandiose, beauty and Ranveer Singh! This is once in a lifetime kind of film which shouldn’t be missed in theaters. A personal note for Ranveer fans, you’re in for the best treat of your life.






D Day Movie Review


Rating: 4/5 stars (Four Stars)

Star cast: Irfan Khan, Rishi Kapoor, Arjun Rampal, Huma Qureshi, Shruti Haasan

Director: Nikhil Advani

What’s Good:Great story telling!

What’s Bad: Editing could have been better.

Loo Break: None.

Watch or Not?: Must Watch

Paisa Wasool: Yes!


Tales of espionage in Bollywood seldom manage to arouse or sustain the tension that the genre demands. Director Nikhil Advani, however, delivers splendidly on this account, weaving a taut narrative complete with unpredictable twists and turns. Not only does he spin a thrilling tale, he infuses the story with sensitivity and emotion.

Four RAW agents have been trained over the years for one specific task – capture India’s Most Wanted man and bring him back to the country alive, so that he can be punished for his crimes. Wali Khan (Irrfan Khan), one of the RAW agents who infiltrated into Pakistan, has spent the last nine years of his life there hoping to find a trail of the elusive Iqbal Seth.

Just when the Indian sleuths are about to give up pursuit, the most-wanted Iqbal Seth (Rishi Kapoor) gives them a glimmer of hope. He is adamant to make an appearance at his son’s wedding. This is their only chance to abduct him.

The team swings into action. Rudra Pratap Singh (Arjun Rampal) and Zoya Rehman (Huma Qureshi) are key players in this covert operation. Rampal has often been criticized for being expressionless. However, in ‘D-Day’, this apparent criticism works to his advantage. As a former army officer and now an undercover agent, Arjun is intense and sharp, his body language apt and his performance precise. Huma is a pleasant surprise, especially in the action sequences.

Irrfan Khan, as usual, delivers another ace with a well-nuanced performance. In the nine years that Wali Khan has spent in Pakistan, he has acquired a new life and his identity no matter how fabricated is as true to him as his own existence. Khan has a choice to make. Will his emotions supersede his loyalty towards his country? Irrfan’s silence and his skillful portrayal convey his internal conflict and his quiet resignation with equal effect. Here is an actor who is as believable as a barber as he is as a RAW agent.

In this fast-paced action thriller, Nikhil Advani creates moments that remain etched in memory. There is a scene when Rudra exacts revenge for the ghastly scar on a beautiful prostitute’s (Shruti Haasan) face. The way water pours down his face in slow motion when he is washing off the blood is symbolic of the way gods are anointed with milk in India.

Later, when Rudra recounts the horror that must have befallen his moll, it is a particularly disturbing scene but has been shot superbly. Shruti has a cameo but are eyes speak louder than any dialoguebaazi.



Rating: 3/5 stars (Three Stars)

Star cast: Rishi Kapoor, Jackie Shroff, Arjun Kapoor, Sasheh Aagha, Prithviraj Sukumaran, Amrita Singh, Deepti Naval, Tanve Azmi, Swara Bhaskar, Sikandar Berry, Sumeet Vyas, Rasika Dugal, Kavi Shashtri

Director: Atul Sabharwal

What’s Good: A well scripted story and a few mind-blowing performances!

What’s Bad: The film is lengthy and poor editing.

Loo Break: None.

Watch or Not?: Good Watch

Paisa Wasool: Yes!

Prithviraj Sukumaran plays police officer Arya, who has idolized his uncle DCP Ravikant (Rishi Kapoor) and unquestioningly conformed to his power wielding strategies. Arya is inherently upright but he would much rather be a little amoral than be ousted for his sincerity. It’s a complex character but Prithviraj plays out the conflict competently, his eyes and his silence conveying his inner turmoil.

‘Aurangzeb’ is an engaging saga but it is very dialogue heavy where music or humour hasn’t been used effectively to provide some respite. In fact, the second brother Ajay did have immense untapped comic potential but alas, the sparse one-liners make for only a few genuine laughs. While the narrative explores the grey in every character whether it is the gangster or the police, at some point we needed a little more clarity about the plot. Did Yashwardhan (Jackie Shroff) suddenly have a change of heart? What happened to the empire that everyone was fighting over? Did Ravikant’s brutal actions have no consequence in his personal life?

The film might be a little too intense for some but if you are ready to overlook some gaping holes; the film is worth a watch. Arjun Kapoor and Prithiviraj Sukumaran rise above the slightly flawed execution to make ‘Aurangzeb’ quite engaging.



Rating: 2/5 stars (Two Stars)

Star cast: Riya Vij, Divya Dutta, Arbaz Kadwani, Jayati Modi, Taaha Shah

Director: Sonam Nair

What’s Good: Honesty in acting from Riya

What’s Bad: May be Indians are not prepared for this kind of comedy yet. It may be talking point in schools for teenagers but it misses the message.

Loo break: May be a couple.

Watch or Not?: Can Avoid

Paisa Wasool: No!


At the outset, ‘Gippi’ promises to be a coming of age film, dealing with the issues of a teenager. Gurpreet Kaur (Riya Vij) lives with her mother (Divya Dutta) and brother Booboo (Arbaz Kadwani). Life seems idyllic as Gippi dances to Shammi Kapoor tunes and her mother indulges her with new clothes and pakodas.

But Gippi is overweight, clumsy and bullied by a super talented girl Shamira (Jayati Modi) in the school. Good enough. But apart from the Shammi Kapoor nice touch, it looks like the film could be set anywhere in the west and we wouldn’t know the difference. Initially when Gippi speaks to her friend about breasts and periods, one expects a bright spark of a film, dealing with some of the teenage issues upfront. But unfortunately, ‘Gippi’ soon meanders into one of those many mediocre teenage films that Hollywood churns out on a regular basis.

For starters, the problems that Gippi has seen more first world than the actual ones that a girl in a small town in India could be facing. Gippi and her brother are privileged to go to a school where girls come with blow dried hair and the boys (high school, if you please) have easy access to cigarettes and stuff. What’s more, 14 year old Gippi’s mother is liberal enough to let her go on a date night with a stranger. I am yet to meet many Indian mothers being cool about that.

An opportunity made to go waste by director Sonam Nair, specially considering she got oodles of acting talent on her side. Riya Vij, plays a confused, troubled teenager with aplomb and the other fresh faced kids, which includes Kadwani and other school students, each of them play their roles with a lot of earnestness and sincerity.

If only the story was more real and close to home. By now we know that our teenagers have their own set of problems to grapple with, which needs looking into and retold as a story. Disappointing.

Go Goa Gone

Go Goa Gone

Rating: 3/5 stars (Three Stars)

Star cast: Saif Ali Khan, Kunal Khemu, Vir Das, Puja Gupta and Anand Tiwari

Director: Raj Nidimoru, Krishna D.K.

What’s Good: Zombies are pretty well fitted in comedy

What’s Bad: Director innovative ideas dies in the 2nd half and look pretty weak.

Loo Break: None at all.

Watch or Not?: Good Watch

Paisa Wasool: Yes


Three friends head to Goa for some fun and frolic. What they think will be non-stop party-time turns into a nightmare, as they run into an unending stream of strange, shuffling creatures, neither dead nor alive, thirsty for human blood. What are these, quavers one of the alive-but-shaken threesome. Not chudails, not bhoots, but, zombies.

Hardik, Luv, Bunny (Khemu, Das, Tiwari) wouldn’t have sounded so surprised if they had known that the venerable Ramsay Bros were the creators of India’s first movie zombies. But there’s one crucial difference between those and these: Go Goa Gone aims to make us laugh, and as we know, all laughter in the Ramsay horror shows was meant to be entirely unintentional. And that’s certainly a first. Raj and DK’s freshly-minted critters can safely take their place at the head of new-age Bollywood’s blood-thirsty undead pantheon.

Raj and DK cleverly use the desi Goa rave party as the most appropriate site for zombies: the raves are meant to be those drugged-out crazy parties filled with acid heads dancing to pot-fuelled trance, and we can easily imagine how these things could turn into hell.

The fun stems from the interaction among the three guys, even though the trio itself comprises familiar types: one horny jackass, one lovelorn dweeb, and the third the straight, let-me-outa-here working stiff. The moment you hear one of them is called Hardik, you know that what the joke will be. The lines are sassy and smart up to a point, and then start sounding forced. But these three carry it off, even when the hilarity wears off. The mandatory girl (Gupta) fills up the line without fuss. And with Saif Ali Khan’s arrival, in golden wig, dark shades and a god-awful faux Russian accent, the mandatory star turn is also in place.

The film would have been funnier if the second act hadn’t gone into a slide. And also if Khan hadn’t played Boris (pronounced, he says with a straight face, Ba-ris) so straight. His slip-in-the-bad-Hindi-cussword is played for a laugh: you know that and you still crack up. Sending up his Russian mobster a little more would have shored up the comic tone of the film. It’s left to the three guys to do the job. Good to see Kunal Khemu back in form; Das and Tiwari also have a couple of good moments.

Shootout at Wadala


Rating: 3.5/5 stars (Three and Half Stars)

Star cast: John Abraham, Kangana Ranaut, Anil Kapoor, Sonu Sood, Manoj Bajpai, Mahesh Manjrekar, Tusshar Kapoor.

Director: Sanjay Gupta

What’s Good:  Manya Surve! The Macho man John Abrahma have lived upto the expectation in the movie. Some serious gangstergiri is shown in the movie

What’s Bad: Editing in 2nd half look cheap!

Loo break: None

Watch or Not?: Good watch

Paisa Wasool: Oh yes!

Manohar Arjun Surve. A bright student, who scored 78% in his college examinations but was never able to live the life of a respectable serviceman that he had envisaged for himself. The life-trajectory of this bright young boy is tragically altered and he is left with a newer, heavier avatar – that of the gangster Manya Surve.

When Manohar (John Abraham) is falsely implicated in a murder charge by a bribed policeman, his fate is changed forever. He is jailed for life, along with his step-brother Bhargav, and it is inside the prison walls that the birth of Manya Surve takes place. Along with a trustworthy aide Sheikh Munir (Tusshar Kapoor), who later turns into his best friend, Manya escapes out of jail. He slowly forms his gang of five and strives towards replacing the Haskar brothers – Zubair (Manoj Bajpayee) and Dilawar (Sonu Sood) – who rule the Bombay underworld. In this constantly shifting tussle for power and the endless cat-and-mouse games with ACP Afaaque Bhagraan (Anil Kapoor), Manya Surve slowly rises up towards being unstoppable.

‘Shootout At Wadala’ boasts of a power-packed cast. As Manya Surve, John Abraham breaks the notion that acting is not exactly his strongest point. He does it all with a hitherto unseen rawness – be it while mouthing cuss words or emptying bullets – and does justice to almost all of the screen time that has been allotted for him. If as the ruthless gangster, he kills with passion, he beds his ladylove Vidya (Kangana Ranaut) with even more of that. The latter (Kangana), meanwhile, fits well as the gangster’s moll. She is appalled at the transformation of her Manohar into Manya, but loves him way too much. Kangana’s character here is reminiscent of her role in ‘Once Upon A Time in Mumbaai’, and she acts along ably.

Anil Kapoor in the shoes of ACP Afaaque Bhagraan is a live electric wire. The man infuses life into Afaaque’s frustration of not being able to do justice to his khaki uniform and deserves a hearty salute. Manoj Bajpayee is spectacular in the little time that he appears on screen. Even in the detestable character of Zubair, Bajpayee can make women swoon over him. Sonu Sood’s performance is extremely praiseworthy. Along with Bajpayee, this brother-duo is definitely worth an ear-splitting applause. Tusshar Kapoor, Siddhant Kapoor, Ronit Roy and Mahesh Majrekar – all make for an able supporting cast and helps bring to life the life of Manya Surve on celluloid.

Bombay Talkies

Bombay Talkies

Rating: 4/5 stars (Four Stars)

Star cast: Rani Mukerji, Randeep Hooda, Saqeeb Salim, Nawazuddin Siddiqui, Vineet Singh

Director: Karan Johar, Dibakar Bannerjee, Zoya Akhtar, Anurag Kashyap

What’s Good:  First of its kind four well known directors directing a single movie with full of their potential.

What’s Bad: The film talks about celebrating 100 years of cinema but four different stories doesn’t quite reflect that!

Loo break: None

Watch or Not?: Must Watch

Paisa Wasool: Definitely yes! Finally a movie which deserves applauds from audience.

Four stories directed by four contemporary Bollywood directors emerge and merge with seamless splendor into a brilliant art of pain and pleasure. Like four scoops of ice cream, one yummier than the other, “Bombay Talkies” serves up a flavorful quartet of delights that leave us craving for more. It’s like that song written by the immortal Sahir Ludhianvi – “Abhi na jao chhod kar ke dil abhi bhara nahin”.

t’s delightful to see Karan Johar recognize that his core strength is relationships and not mush. KJo steps away from his usually voluptuous colours and glossy sets to tell a very real story about a married couple which stumbles upon the realization that they have actually been living a lie. Each actor Rani Mukerji, Randeep Hooda and Saqib Saleem essay understated performances with flair and sincerity. Randeep’s arrogance conceals a raw vulnerability while Saqib’s brash and presumptuous personality has a certain inherent charm. Rani is subtle and effective. For once it’s admirable how Karan Johar deftly handles his gay characters, successfully steering clear of a stereotypical portrayal.

Dibakar Bannerjee’s story about a failed actor who gets a chance opportunity to do a bit role in a Bollywood film is a captivating tale. Nawazuddin Siddiqui’s sheer brilliance in the hands of an adept director wipes out disappointing memories of his last film (Aatma). Two remarkable scenes that stand out; first, where Nawaz practices Big B’s famous dialogues before he realizes that his little role hardly has any lines to mouth and second, the last scene where he doesn’t have a single dialogue but his histrionics speak louder than any other line in the whole film. Siddiqui’s face conveys myriad emotions as he runs home to his daughter after his performance.

Zoya Akhtar’s little child star is pushed by his ambitious father to learn football because that’s what boys should be doing. Our 12-year-old however aspires to become a dancer like Sheila (Katrina Kaif in ‘Tees Maar Khan). It’s a heartwarming story as an indulgent elder sister understands her kid brother’s dreams and they are oblivious of the implications that this unusual choice of vocation might have.

Anurag Kashyap’s protagonist travels all the way from Allahabad to meet Amitabh Bachchan in Mumbai because his ailing father believes that will save his life. Vineet Singh is spot on as the fan desperate for a glimpse of the superstar. He gets even the little nuances right like, calling Big B, “Amita Bachchan” instead of “Amitabh Bachchan”. Kashyap’s story is an honest tribute to the Shahenshah of Bollywood.

“Bombay Talkies” is segmented and layered, yet cohesive and compelling from the first frame to the last. While unravelling the magic of cinema and its impact on the minds of audiences, “Bombay Talkies” also displays how much cinema has evolved over the generations.



Aashiqui 2



Rating: 2.5/5 stars (Two and half Stars)

Star cast: Aditya Roy Kapur, Shraddha Kapoor, Shaad Randhawa ,Mahesh Thakur

Director: Mohit Suri

What’s Good: I am sure by this time you must have bugged by many of your friends about how good are Aashiqui 2 songs! Well that is the only good part of the movie. You can add few points for Aditya Roy Kapoor for his acting.

What’s Bad: Poor Script. Felt like some one tried to mix old Aashiqui with Abhimaan. Some times I felt like a documentary of a drunk guy!

Loo break: Oh Yes Abhi aur Kabhi bhi 😛

Watch or Not?: Do Not Watch

Paisa Wasool: Get a CD of Aaashiqui 2 if you want to hear the songs! Its Free on YouTube any way! Do not spend a Penny.

Another Sequel which disappoints Bollywood lovers!!!

Rahul Jaykar aka RJ (Aditya Roy Kapur) is a talented singer who is headed down the path of self-destruction. The moment you hear ‘singer’ and ‘self-destruction’, comparison with Ranbir Kapoor who played Janardhan Jakhar aka Jordan with such élan in Imtiaz Ali’s ‘Rockstar’ is inevitable.

Aditya plays his part distinctly different from Ranbir. The reasons for his inner turmoil are very different; fame and stardom fell into his lap and despite immense talent, he squanders it all away. He is an alcoholic, frequently misses recordings, his international concerts have now moved base to local shows, like the one in Goa. On one such evening when he lands up in a Goan bar, he discovers an undiscovered talent Arohi Shirke (Shraddha Kapoor).

The moment Rahul approaches Arohi, she decides to wrap up her Goan sojourn and head to Mumbai and re-embark on a daunting journey, aspiring to become a famous singer. RJ realizes she has immense potential and decides to mentor her. Needless to say they fall in love but though RJ encourages his protégée at every step, he has given up on himself long back. Despite a few vain attempts, he never really tries to give up drinking.

The plot is not flawless; it’s surprising how no one thinks of seeking professional help for our conflicted protagonist, the emotional outbursts are some of the weakest scenes in the film and the love story too reeks of a kind of naiveté and optimism that is almost impossible to find these days.

Aditya Roy Kapur’s performance however is almost perfectly pitched, despite the loopholes in the script. Shraddha gets a little squeaky in the emotional bits but there is an inherent innocence about her character that makes her vulnerable and likable. I wasn’t at all impressed with Shaad Randhawa’s performance.

Life in a Metro

life in a metro
Director:Anurag Basu
Writers:Anurag Basu
Stars:Dharmendra, Irrfan Khan, Konkona Sen Sharma ,Kay Kay Menon,Shilpa Shetty,Shiney Ahuja,Sharman Joshi,Kangana Ranaut

Metro is the story of nine different people, living in one city and somehow related to each other. First is Shikha (Shilpa Shetty) who is married to Ranjeet (Kay Kay Menon) and has a six year-old daughter. Ranjeet is in an extra-marital affair with Neha (Kangana Ranaut) who works under him in a BPO. Rahul (Sharman Joshi) is Neha’s colleague and he has a wonderful idea for success. He lends his apartment to his bosses to bring their girlfriends, mistresses and prostitutes and in return, they recommend him for promotion. On one such instance, he lends his apartment to Ranjeet and comes to know that Neha, whom he secretly loved, is Ranjeet’s mistress.

Shikha, fed up of her boring life with Ranjeet, who ignores her, is attracted to Akash (Shiny Ahuja). Shika’s sister, Shruti (Konkona Sen Sharma) is a 27 year-old spinster desperate to get married. She initially refuses to marry Monty (Irrfan Khan) but later befriends him. Coincidentally, Neha is Shruti’s room-mate. Apart from these, we also have Amol (Dharmendra) and Shivani (Nafisa Ali), the senior couple who unite after their spouses’ deaths. Shivani is also Shikha’s dance teacher.

Tackling multiple stories in 2 hours is a challenge and Aurag does it well except for a few flaws. The screenplay is the best which I have witnessed till date. The lives of nine people are depicted on the screen but the viewer is never confused. There are plenty of songs which slow down the happenings which was very much required. The starting scenes leave tremendous impact on the viewer – Shruti and Monty’s first meet, the tense moments between Shikha and Ranjeet on their anniversary, Shruti discovering her boyfriend (Gautam Kappor) to be gay, etc. The post interval portions raise the graph even higher where Rahul and Shruti discover about Neha and Ranjeet’s affair, the moment where Shikha and Akash are to get physical and finally, the climax of most of the stories.

Anurag handles most of the above sequences very well. The climax of all the stories is very well thought of. Shikha deserts Akash and compromises with Ranjeet for her daughter. Neha dumps Ranjeet and unites with her true love Rahul. Shruti finally finds Monty fit for her. Shivani dies and Amol is left all alone in the huge world. He takes it positively as forty years back, he also had dumped Shivani for his career. All ends well except for Akash and in the end, you really feel sorry for him and Shikha – thanks to their wonderful performances. In the end, Metro does teach us something about human relations.

All the actors deliver superb performances. Shilpa Shetty as Shikha delivers her career-best performance. Shiny gets limited scope but makes use of his screen space well. He is remarkable in the last scene. Kay Kay is excellent. You hate him since the time he appears on the screen. He is under the skin of his character that loves his daughter dearly and uses his workers as hookers. Sharman is good. He doesn’t get much to act actually. Kangana gets only one scene where she attempts suicide and she makes good use of it. Konkona is the most likable of all. She really looks desperate to marry. Irrfan Khan’s comic timing is good and the way he delivers a serious dialogue with a straight face is superb. Dharmendra and Nafisa don’t get to do much here but watching them together is pleasing.

Metro has a novel idea; Pritam’s (the music director) band is featured in each and every song of the film. Cinematography is fabulous. One can see Mumbai in a nutshell in this film. Those who have never been to Mumbai must watch this film. Metro is a great film with a perfect screenplay. Watch it for the story and power-packed performances by all the actors. Watch it for Shilpa as you will never see her again on the screen (at least in this way).

Taare Zameen Par


Director:Aamir Khan
Writers:Amole Gupte
Stars:Darsheel Safary, Aamir Khan, Tanay Chheda

Yet another from Mr. Perfectionist!!!

The story is of an eight year old boy Ishaan Awasthi. Ishaan has some snag with studies. He lags behind in class and most of the time he is standing outside after being punished. Ishaan loves to paints he lives in his own small world where fishes can talk, trains can fly and yeah he brings everything to life with the help of his paint brush. Lost in his own world Ishaan merrily play with fishes, street dogs and fantasize about fictitious characters. Ishaan’s elder brother is the class topper and a tennis champ and hence it invites comparison. Driven by strong service class mentality Ishaan’s parents want their kid to excel in studies and concentrate more on academics. Ishaan fails in class 3 and faces rustication from school because of chances of getting failed two times in a row.Desperate time calls for desperate measure and Ishaan’s father enrolls him in a boarding school against his will and his mother’s. Ishaan feels betrayed, he is hurt he goes into this shock stage where he hardly talks to anybody and more importantly he stops painting. Here also he lags behind in studies but more importantly he loses the will to be happy. Then comes a temporary art teacher Ram Shankar Nikumbh( Amir Khan), he tries to figure out the reason of Ishaan’s silence and disinterest. He finds few symptoms of dyslexia in Ishaan, and then decides to help him out. He educates his parents about dyslexia, convinces the principal to be liberal with his marks. Being a dyslexic himself, Ram Shankar relates with Ishaan’s problem. He not only helps Ishaan’s to deal with dyslexic but also builds up Ishaan’s lost self confidence.

Taare Zaameen Par strikes right chords because of an amazing script, meticulous direction, magnificent performances and Simplicity. Everybody would be able to relate with Ishaan. Ishaan’s problems his life at some moment will definitely become yours. Every character is beautifully written and Amir Khan makes sure you are acquainted with all of them. This is the beauty of TZP because everything is so believable and realistic that after some time you become a part of it.

TZP triumphs because of its simplicity. The characters are so believable that they feel like people living next door. Darsheel Safary is brilliant. Amir intelligently handled his screen time and he never overshadows the script or any other character. It’s the master story teller Amir Khan’s sheer brilliance that he is being able to bring to life some of the most touching and heart warming scenes on celluloid. Amol Gupte’s sensitively written script indulges you into each and every emotion. SEL gives a melodious heart warming music which not only adds to the narrative of the story but also embarks many unsaid emotions. “Ma” is unarguably among the best shot song of recent times. Hand held camera and sharp editing is vividly used in “Bheja Kum”, Date raho introduces all the characters colorfully and off course the title track is sheer melody.

TZP never tries to preach anything it’s not a movie about dyslexia. But it has a noble feel and an intrinsic kindness. This movie talks to all parents and forces them to introspect. TZP works because it is so relatable we all can see ourselves on screen at some point or another. The only minute shortcoming of TZP is its pace. First half can be cut short by 15 minutes but I will say it doesn’t matter because the movie is slow for sure but you enjoy every moment of it.

Watch Taare Zameen Par Full Movie