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# Tamasha: Absolutely brilliant piece of work, saw it back to back two consecutive days here. It was intellectual, introspective, philosophical and romantic. The complex relationships between Ved and the various kinds of individuals starting from The story teller to his parents to the teachers, college mates, professors, work colleagues and manager and finally his anchor-Tara-who assist or hinder his progress, or both, allow the movie to be at once a romantic drama and a philosophical foray into the human mind. Kapoor as Ved and Padukone as Tara are the perfect cast, you could not have chosen anyone other than these two to execute your vision with their own individuality to perfection. We can see Deepika's evolution as an actor is phenomenal- she emotes through silences and words with such ease- a sampling is the scene in the car when she leaves Corsica-the gamut of emotions from relief, to happiness to the angst of separation that we visualize is evidence of her histrionic abilities. If she were not available as an anchor to Ved, Kapoor would not have been able to succeed in his performance. They are two peas in a pod and exemplify on-screen compatibility to the hilt. Kapoor lives eats breathes the character of Ved Vardhan Sahni. He is one of the best actors we have today and this performance will go down the scrolls with Barfi for outstanding acting. The creativity, the anger, the neurosis, the frustration all depicted to perfection. Unless one can get into the head of the character it is hard to display all this. Thank you for this masterpiece- that calls out to each of us to identify our calling in life and lucky are those that can identify a soul mate who can help them through the journey. I for one felt like I am invisible spectator in the life and times of Ved Sahni and Tara Maheshswari. Technically this is a brilliant film too with Ravi Varman's cinematography and Rahman's music. The location Corsica couldn't have been better. It sets the apt landscape for a sense of abandon, masquerade, and offers the room for self realization for the lead characters. Excellent choice of location and I feel Corsica is a character that aids Ved's journey as did Calcutta in the movie Kahani. The dialogues are so well written- and helps establish the camaraderie between the characters- a lot of us in real life do this- mouthing dialogs from Hindi old world classics. There is a good dialog delineation from reel and real- if reel were Corsica then the real is Delhi. The concept of bipolar attitudes in consumerism is mouthed by both Ved and Tara in their respective team meetings and gives us a hint of what is happening with Ved. But honestly in real life we are all bipolar to a certain extent- the extent varies that's all. Finally- a few thoughts- While the focus is on Ved, we could have seen more of the Tara-Ved troubles and disillusionments and how they realize that they are soul mates. Tara could have had a bit more screen space to solidify her presence as the anchor. I was reminded of Richard Bach's Bridge Across Forever and Ayn Rand's Fountainhead for some of the grounding concepts in the movie. If I can seek some clarification Imtiaz Ali- the last few frames where we see Ved narrating his story to Tara in Japan, we see the clown in every frame even in the past, while in real life Tara plays the role of the clown- what does the clown's presence signify in the past frames?

Preserving wealth is a lot of hard work. When a man has labored life long to project enviable luxury, it's essential that he appears to relish it with his family and flaunt it among his friends. Footing in a large bill every single day for a group he requested to come along on a scenic Mediterranean cruise to celebrate his 30th

wedding anniversary, Kamal Mehra (Anil Kapoor) feels the pinch of keeping appearances.

A self-made billionaire, he's still in touch with his middle-class values when it comes to matters of the money. Everything else is as superficial as it gets -- be it his jaded marriage to ace cupcake- chomper Neelam (Shefali Shah), his tediously old- fashioned expectations from kids Ayesha and Kabir (Priyanka Chopra, Ranveer Singh) or his relationship of convenience around his equally catty tycoon friends.

Zoya Akhtar's breezy outlook and aversion for melodrama are something I've constantly appreciated in all her previous films.

Her latest Dil Dhadakne Do retains this virtue whilst exploring the woes of well-heeled lifestyles without turning them into caricatures of a dysfunctional family.

Farhan Akhtar's pat dialogs contribute significantly -- they're the best takeaway from this cruise confection. As is the spot-on timing they're delivered in.

In one fine scene, Ayesha is discussing incompatibility issues in her marriage with her mother. The latter brushes it off arguing how her husband (Rahul Bose) provides her with everything she needs. And there you have it -- "Aisa tha toh phir meri mall se shaadi kar dete (If that was the case, you should have married me to a mall ?"

In another, a hysterical Kabir goes on a spontaneous spree of puke-themed jokes ranging from 'Vomatino' to 'Louis Vomiton.'

One cannot say the same about the voice-over provided by Aamir Khan for Pluto Mehra, the darling mastiff pet of the Mehras. His sagacious captioning of scenes (in Javed Akhtar's words) robs Dil Dhadakne Do of much of its delicacy and caters to Bollywood's annoying tendency to 'see, what just happened there?'

For a script that's bold enough to sail without a plot, simply as a whimsical slice of freewheeling vacation and untapped impulses, Dil Dhadakne Do is surprisingly stale in fleshing the circumstances of its protagonists.

Bickering parents, daughter trapped in a loveless marriage, son whose heart is not in running the family business, progressive ex-flame around the corner, free-spirited Londoner facilitating a long- due coming-of-age, competitive uncles and their matchmaking-obsessed wives -- all these are lamentably one-note or familiar facets from her past work.

It's an eclectic group of impressive actors led by Anil Kapoor, Ranveer Singh and Shefali Shah, making sure they own their respective parts.

Right from the moment Kapoor delivers his first punch line clad in a pair of spiffy golf pants to the final scene seizing his vivacious, winsome grin, he crackles the screen with his portrayal of a deliciously calculating Punjabi patriarch.

Alternately refined, bumbling, rascally and vulnerable, Kapoor is the life of Zoya's opulent multistarrer. Though unfairly neglected to highpoint her live-wire co-star, Shefali bites into the part of his disenchanted sounding board just as avidly as her diet in the movie.

I've always found Ranveer Singh's excessive energy to be a major deterrent but here he contains it so deftly making his low on ambition, dry-humored albeit tender Kabir a delight to watch. Easily his most realized, assured and nuanced delivery.

Priyanka Chopra's Ayesha invites judgment in her submissiveness and silence as a self- deprecating achiever who allows her husband to think he 'allows' her to work. All the more so because she doesn't look the part even if her chic styling is right on mark.

Also cast against type, Rahul Bose has more success in getting the tone of his chauvinistic mamma's boy (a terrific Zarina Wahab) just right.

Farhan Akhtar and Anushka Sharma remain at the periphery triggering romance, realization and rebellion into the complex Mehra kids. Even if their role isn't as meaty, their lovely, likable persona infuses quick, believable chemistry. There are occasions when Zoya digs into their darker spaces -- pity sex, history of infidelity only to retreat back into the safety of all that is cosmetic, chirpy just like the Mehras.

Clearly, the leisurely-paced family dreamed isn't in a rush to get anywhere.

Cinematographer Carlos Catalan's sublime visuals, whether he's capturing the gorgeous ocean, majestic heritage sites, Zoya's expressive cast, the lavish breakfast buffet of freshly baked goodies, are effortlessly attractive.

Unfortunately, it doesn't lead up to anything distinct. Despite all the gyaan Pluto belts out, the movie wraps up hastily in a rather unfulfilled, problematic manner. Except that the actors play out the ensuing irrationality with such infectious gusto, it doesn't bother straightway.

Zoya Akhtar's Dil Dhadakne Do unravels like an entire season of soap opera condensed into a nearly three-hour movie that observes the clichés surrounding the affluent through wit and warmth but is, ultimately, too facile to rise above the charming fluff.

As we all know there is very weak story in this movie Bombay velvet. but there is very strong storytelling. and the music of this movie, Amit trivedi has done a very great job. let me be very honest, I'm a very big fan of anurag kashyap cinema. and this movie is also a part of it. that's not the reason I like the movie that its been directed by AK. its also a small reason but the acting has been done by Ranbir kapoor. I just loved it. I found some great dialogues in the movie. camera working is extraordinary. that is also following anurag kashyap. karan johar was good. not extraordinary. but why I liked the whole plot I don't know. my heart says its a masterpiece!

BY STEPHEN MARCHE

American Sniper, Clint Eastwood's Iraq War film starring Bradley Cooper, opened last weekend to a small measure of controversy and an epic public response. The movie made an estimated $105.3 million over the long holiday weekend, an absurd sum for an R-rated war drama devoid of superheroes. It broke two January box-office records previously held by Avatar—by Avatar, for the love of God— and it has already surpassed almost every Clint Eastwood movie's lifetime gross in a few days. (Unforgiven made $101 million over its entire run.) Most remarkable of all is that American Sniper deserves all its success. It is the first great film made about the war in Iraq. (It follows sniper Chris Kyle's tours in Iraq, which included the Second Battle of Fallujah.)

The controversies surrounding American Sniper are predictable, although still quite silly. Michael Moore made the claim that snipers are cowards, and then seemed struck that anyone was offended by the remark. A bizarre statement, truly. You can accuse Navy SEALs of a great deal, but cowardice is not on the slate. Others have more seriously taken issue with the way the film represents history. To which I can only say that going to a Hollywood movie for a history lesson is like going to a brothel for a lecture in philosophy. You're in the wrong place.

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A MICHAEL KEATON STORY HE WOULD RATHER YOU DIDN'T... No one is denying the quality of the film, well, with the exception of those fake babies. That would be nearly impossible. What makes some critics uncomfortable is their perception of the film's celebration of violence. Chris Kyle, whose autobiography provided the basis of the film, was the deadliest sniper in U.S. military history. He was a naturally gifted shooter from boyhood, and his gift was nurtured by dedicated training until his deployment to Iraq, where urban warfare provided the perfect venue for its expression.

Eastwood does not shy away from displaying Kyle's incredible skills with a rifle, it is true. But to say that American Sniper is pro-war or even a simply heroic portrait of Chris Kyle is deliberately to misinterpret it. At the beginning of the story, we see Kyle as a child in Texas. His father instructs him in a simple code: There are wolves and there are sheep and there are sheepdogs in this world. And he is to use his violence to be a sheepdog rather than a wolf. In the broadest terms, the story of American Sniper is that of a man given this incredibly crude ethical system, thrust into the morass of the Iraq War, and watching it crumble.

During his first tour, Kyle is forced to decide whether to shoot a young boy as he runs toward a convoy of soldiers with what appears to be a grenade. As the wars in Iraq and Afghanistan progress, as the tours add up, the decisions become even more complex and the purpose of the violence less clear. Kyle's sign is a crusader's cross. He displays a skull very similar to that of the Punisher comic-book character on the side of his Humvee. He wants to make war on "the evil" of "the savages." He takes missions out of a spirit of personal revenge. His counterpart, his foremost enemy, is a sniper named Mustafa who takes videos of his kills and sells them on the street. But at least when Mustafa goes to kill, he's in the same country as his babies. "God, country, family" is Kyle's motto. It's also the motto of "the savages."

Just saw this yesterday. I loved the film. Ayushyman was fantastic. He's a very good actor. The film take us into 90 's. Because of Kumar Shanu's songs. And Anu Malik music is quit good. Story is not that good but all over acting is good. You should watch it once. It drives you in 90's. Ayushman you have proved it again. You can enjoy it though. One time watch. I don't think its a bad movie but its an ordinary movie. It doesn't suck. Enjoy it. Its a fresh story. Not a copycat. That is the main point of this movie. Its an original Bollywood tale.I hope you make sequel to this as producer, keeping Zoya on director's seat again, as I think, she was brilliant as director. She might have lived her life with lots of male friends as it not for a single moment seems like a film directed by lady director (which was the only minus point of LBC from my point of view). Hoping to see more from her.

Omg!! This kind of movie. I mean extra ordinary. What a director Zoya is. I really can't stop watching this movie. Best performance by all the actors. Mostly I love the Farhan Akhtar character Irfan. He's perfect. Superb. Other hand I personally love Abhay Deol. And as usual he's great. He's just an amazing mind blowing actor. Katrina looks hot and ya she have done well. And the music it is just outstanding. Touches my heart. And all around the world people heart. SEL your amazing guys. We love you. I love Barcelona. Its my life goal to visit Spain once. It has 60% completed after watching this fabulous movie. Waiting for an another movie by my all time favorite listed film director Zoya Akhtar. I suggest you should watch this movie before you get die. <3

There is a reason why Anurag Kashyap is considered an excellent filmmaker, why he has the cult following that he does, and that reason is that he hates formula. Ugly is Kashyap's best film in years. It's also his most mature work to date. Ironically, Ugly looks beautiful. It's all dark. Finally, there are the supercharged powerhouse performances from nearly everyone in the film. Kashyap never tries to make you sympathies with any of the characters, thereby making them more real. AK IS THE BEST MOVIE DIRECTOR OF BOLLYWOOD Industry. Kashyap places all these scumbags in a juicer-mixer-grinder of a plot. You'll probably be confused as to whom to root for by the end of the film, but the answer really is nobody. Kashyap never tries to make you sympathies with any of the characters, thereby making them more real. Human beings are terrible by default, and they would only do more terrible things to others to have their own way.