Patently, Cheenti Cheenti can be praised for being 2^nd Indian non-mythological flick churned out and first animation film in India made in cell-animation (manual) using hand drawn pictures thereby ensuring international quality standards. There are more than 9, 60,000 drawings used in the film. Alas! Despites possessing such uniqueness, the film falls out of expectations, for loose-ends on every aspects and nothing seems to off top-notched quality. Of course, amidst of advanced animation flicks hitting across far-flung corners of the globe, the film doesn't prove of its worthy vying with it. R.D. Malik should've better made this flick, if he had something unique to deliver or else shouldn't have envisaged about it. Indeed, it cannot be watched just for the sake of tag 'Made in India'.

The story revolves around two kingdoms of Ants - red and black: Near the pond, on the west side of a dilapidated bungalow, lie two kingdoms of the red and the black ants constantly at loggerheads. It erupts into a major showdown when Laal Budda (old ant) is accused of harassing Kalibou, a hand maiden of Kaali Rani. She complains to Kaali Rani, who insists that Kaala Raja behead Laal Budda! Angered by the audacity of the Kaala Raja, Laal Raja wages an attack on his kingdom. To make things worse, Lohit the Laal Prince falls in love with Krishna the Kaala Princess and elopes with her.

The supporters of the Kaala Raja are Mighty Girgit...and the Frog...But some have vested interests. The Laal Raja also has his supporters, including the magical Beyallis Karma.

The film seems to have been produced just eyeing on kids, but then it's so precise even they wouldn't be entertained with this fallible piece of work. It's been a clichéd theory that most of animation flicks doesn't brim up with perfect screenplay. Merely, because the characterizations keep dominating and you wouldn't notice even the blatant flaws over there. Cheenti Cheenti… has caricatured characters that don't exert a pull on audiences. The most exemplifying factor would be so-called chameleon that never changes its colors and a frog that never stops croaking. More specifically, a mongoose that looks like a mouse is really ridiculous and this isn't the end, for you would point out a long-listed absurdities.

Getting on with voices rendered, it's just Arsani who steals the show. But again, improper lip-syncs diminish the good credits. Well, looks like rest of dubbing artists haven't strained themselves for best efforts.

Nothing great to speak about technical aspects; neither animation nor the musical scores goes convincing. Perhaps, the biggest spoil-factor of film is that it's 2-dimensional all throughout.

On the whole, Cheenti Cheenti Bang Bang fails to get added with Antz or A Bug's life…

Verdict: Better avoid it

Rating : *

Alas! Karzzz dashes down your expectations flubbing on every aspect: performance as well narration. Even it happened to be an archetypical piece of work by Director Satish Kaushik, the film has nothing great to be appreciated about. Perhaps, you'll get miffed up equating both the versions and better don't strain yourselves clinging on with it.

Re-incarnation stories would sound better if filled with either cliff-hanging quotients or a transfixing screenplay. Well, Karzzz doesn't seem to be treading on any of these aspects and of course, it has no solid solution to the riddle of reincarnation other than vengeance.

The protagonist Monty (Himesh Reshamiya) is an extremely successful Rock Star based in South Africa. Indeed, phenomenally popular across the country, he is worshipped like an idol. In course of one of the many parties he attends, he meets Tina (Swetha), a final year catering student. For Monty, its love at first sight. But, Tina returns home immediately, after leaving Monty fretting. That's when things start to change.

During one of his rehearsals, Monty starts playing a tune and suddenly goes into a trance, with intense visual flashes - a mansion, a temple, a beautiful girl... Monty collapses unconscious.

On further probe, he finds out; the mansion belonged to a certain Ravi Verma (Dino Morea), who died in a tragic accident. Another flash back reveals that Monty was Ravi Verma in his previous life, married to a beautiful girl called Kamini (Urmila Matondkar). Monty now has the grave realization of having been reborn in his current persona. His beautiful love interest (Tina) is none other than Kamini's foster daughter. From here starts Monty's new journey.

A journey of enthralling vengeance, which he unleashes on Kamini. In close connivance with her wicked accomplice Sir Juda (Gulshan Grover), Kamini had murdered Ravi to take over his estate, leaving his family helpless after his death.

To repay the debt he owed them for all their suffering, Monty now brings his mother and sister out from the dark recesses of their life; he also reunites with Tina and culminates his incomplete love from a previous life.

Nearly, before three decades, the theme of rebirths would have fathomed to be something new. But, Satish Kaushik should have brimmed up with polished work and not just the replica. The entire hours of film right from the beginning till climax, everything seems to be clichéd inclusive of graveling characterizations and passing-scenes techniques of car-driving sequences that were more famous 80s.

On terms of performance, it's just Urmila Matondkar and Dany Denzongpa who keep churning best out of them. Be it the devilish kind of attitudes or appearing in bewitching looks, Urmila scores the best turning spotlights on her. Dany Denzongpa as a film-maniac adds more to humor part and pretty well on emotional lines too. In fact, Satish can be well-appreciated on depicting Danny's role for its one just convincing factor in the film. Himesh Reshamiya merely disappoints on performance with his inability of emoting to humor, action and sentimental situations. Just glimpse through the sequence where he catches hold of his past memories looking at his hillside bungalow, you are sure to break down with laughter. Swetha Kumar with good looks fails to impress with her performance. The most annoying part is Gulshan Grover being portrayed as mute-funny villain with his left arm equipped with instrument.

Lack of on-screen chemistry between Himesh and Swetha is furthermore scattering away everyone's attention. Lots of songs in the first half completely encumbrances the pace of screenplay and you never feel like getting into halls post-interval. Again, the portrayal of Rohini Hattangadi is nettlesome as she recognizes her re-incarnated son though there are no similarities between Himesh and Dino. The climax sequence is completely cockeyed where Urmila triggers out bullets on Himesh's legs and yet he looks cool. His gestures look like he hasn't been stuck by bullets, but stones. Dino Moreo does justice appearing on cameo role and ditto to Bakthiyaar Irani.

Musical score by Himesh Reshamiya are mesmerizing and Manoj Sani's capturing the best exotic locations of Cape Town and Kenya are spellbinding.

Nevertheless, moderate performance by entire star-casts, deplorable screenplay and poor direction marks Karzzzz as C-graded film…

Verdict: Better to avoid it

Rating : *

Turning words into pictures is fairly clichéd when it comes to Hollywood: Be it Francis De Coppola's The God Father or Stephen King's scintillating piece 'Different Seasons' adapted as The Shawshank Redemption. These are happening adaptations that have taken the position of 1 & 2 in the list of Hollywood's ever best films. Divulging to be so, the readers well-accepted these versions on the screen, merely because of good execution. Nevertheless, 'Hello' adapted from one of the finest hot-selling novels 'One Night @ the Call Centre' penned by Chetan Bhagat hits screens today. Indeed, Call centres happen to be the hot themes for novels and films…

Well, would the readers of this novel get gratified with its adapted handiwork? Not so sure, the film works out well on certain aspects. But again, long-drawn-out screenplay grinding to a halt gets the viewers bit annoyed. Chetan Bhagat fetches the good credits of penning an innovative novel, but things aren't the same with 'Hello' as screenplay crafted by Chetan and Atul Agnihotri is merely a mediocre.

Fine! Let's a glimpse through the synopsis of 'Hello'…

Hello... is a tale about the events that happen one night at a call center. Told through the views of the protagonist, Shyam (Sharman Joshi), it is a story of almost lost love, thwarted ambitions, absence of family affection, pressures of a patriarchal set up, and the work environment of a globalized office.

Shyam is losing his girl friend because his career is going nowhere as he trudges his way around in a call center. His girl friend, Priyanka (Gul Panag), is also an agent like him at the call canter who is about to be snatched by an NRI techno geek.

There is also the aspiring model, Esha (Isha Gopikaar), who is hopping for the break that seems to be always already eluding her and the man about town, Varun (Sohail Khan), who is into well, things. The housewife, Radhika (Amirta Arora), who is constantly at the receiving end of her mother-in-law and a beleaguered grandfather, Military Uncle Vijay Pratap Chauhan (Sharath Saxena), who has been barred from interacting with his grandchild make up the rest of the call agents who see their worlds crumbling around them as the decisions of right sizing are conveyed by Bakshi (Dilip Tahil), the boss.

It is a night when dreams will finally crumble. Or will it? For there is that call from God. Narrated as a tale within a tale as a beautiful woman (Katrina Kaif) meets the auteur/ narrator (Salman Khan) and promises him a story on the condition that he has to narrate it further….

Everyone loves 'Peeping tom' when it comes into the lives of call centre employees. This should have really evoked the interest of audiences to go for it. The characterizations have been precisely sketched, but the problem lies in establishing them… Yup! Establishing characterization vividly varies from novels-to-films and for sure film buffs would understand it. Atul Agnihotri should have better finished introducing the characters within first few minutes. But the entire first half is carried on demonstrating characters and their problems. Of course, the scenario prolongs to the earlier minutes of latter part too and it gives a wretched look.

Nothing to blame on the star-casts: everyone does a neat job with Sharman and Sohail Khan turning entire spotlights on them. They are enthusiastic right throughout emoting to fun, frolic and emotional quotients. Gul Panag doesn't deliver the best performance other than sharing romantic sequences with Sharman. Amirta Arora's performance is quite good, but it would have been better if the auteur had penetrated more on to her characterization. Ditto to Sharath Saxena and he should have been well-utilized….

Salman Khan appearing in cameo role doesn't mean that director should have let him at ease to perform on his own interest. Katrina Kaif with her cherubic looks captivates us though she appears for duration of not more than 10mins.

Exposing the customers buzzing up to the call centre executives has been very-well executed. It's so real of how some callers are so foolish and their queries too…

Musical score by Sajid-Wajid is commendable, but background scores are not solacing. The title song 'Bang Bang Bang' is sizzling and indeed a grand fiesta for fans of Sallu Bhai. Sanjay Gupta's cinematography is as enchanting as things have been well-worked out in interiors of call centre. Thanks to art director for decent works.

On the whole, 'Hello' showcases the moderate effort of entire team and would sustain in box-office for the interesting story….

Verdict: Watch it once.

Rating : **1/2

An audacious auteur indeed! Director Vikram Bhatt who won rave reviews across the far-flung corners of globe for his debut directorial Raaz, is back again with a scintillating spine-chilling horror flick. Perhaps, looks like Vikram Bhatt is vividly influenced by the World's ever best flicks The Exorcist and The Others. Precisely, 1920 doesn't carry anything unique in terms of its storyline, but the exotic attributes of Horror-genre are top-notched…

1920 has spooky atmosphere, a wicked twist and turns and an ice-cold grabber of a performance by Adah Sharma.

Set at the backdrops of 1920, a young couple recently entered into nuptials despites life-threatening opposition from the boy's father. Arjun Singh Rathod (Rajneesh Duggal), a religious entity turns into an atheist when his family is urged to kill his wife Lisa (Adah Sharma). Arjun, an architect wizard and Lisa have to now move to exotic location of Palanpur where he is assigned to shatter down an old palace for constructing a new hotel. An excellent picturesque of new place that makes the couple feel like paradise, but there is something abnormal sensed by Lisa in this Old Haveli. These mysterious signs start haunting Lisa and much before Arjun could believe her, Lisa is already obsessed by a spirit. Here starts, the rolling waves of horrific scenario where Arjun starts assaying of settling-scores with evil spirit that his wife possesses. Indeed, Arjun has to bear the jeopardizing stunts of his possessed wife performing gymnastics. Remember, it's not just about casting away an evil spell, but there is whole lot of mysteries to be unraveled between past life of Lisa and her colligation with Old Haveli.

Don't miss out the horrific thrills; you are sure to frozen with bewitching elements that is sure to get your spines frozen. Peculiarly, the first of transfiguration of Lisa not just takes Arjun into topsy-turvy, but scares us a lot. Merely, the best part is where Lisa is pulled into a Dark black hole of a room just before interval. But makes the film so clichéd, is the bright white-bluish eyes of ghost-haunted entity. These aspects crawls down pace of screenplay and indeed getting us loose our interest. On the pars, 1920 holds several clichéd aspects of horror flicks. It's always a woman who is possessed and of course, the ghost too is a female. Thanks to Vikram Bhatt, he has a male spirit haunting the missy and perhaps, it doesn't show any mercy to the victim as in other flicks (Bhooth). Again, Arjun spots himself under the category of husbands who devotedly work on rescuing their wives. Finally, the big conversation that goes on between a religious person and a Doctor on Science Vs Supernatural issues. But, these features are locked up within short time and you have something more to watch.

Dialogues are so penchant: be it Arjun's rigid conversation with his father in the opening sequence or the conversation held between priests, but again, it would be great if the term 'Multiple Personality Disorder' is fended off.

On the technical traits, Cinematography and background score are merely enthralling. Cinematographer Pravin Bhatt spells his enchanting piece of work right throughout the film. The painted backdrops of beautiful locations of Allerton Castle in London are chilling for eyes while on the other end; he brings you the horrifying feel with unique lighting and camera angles. Adnan Sami isn't so impressive with the songs, but his background score enhances the visual quality…

Getting on with performance, Adah Sharma playing the victimized role steals the show with her over-the-top performance. If one does get resisted with the horrific thrills, obviously it's Adah Sharma who maintains the racy tempo all throughout the film. Anjori Alagh on her role of holding the mysterious secret exceeds our expectations. Rajneesh Duggal performs his best in the first half, but his characterization goes diminished in the latter part with Adhah Sharma and Anjori Alagh who overshadowing him.

Well, if you are on the urge of deciding the best between this film and Ram Gopal Varma's Phoonk, we are sure 1920 is over-the-top. Hats off to Vikram Bhatt, for he hasn't just penned a horror story, but has delivered the smartest work on designing powerful characterizations and best technical quality.

Verdict: Gets your adrenaline shot

Rating : ***

Known for percolating exceptional themes and winning laurelses, Rituparno Ghosh pitches 'The Last Lear', based on the classic play 'Aajker Shahensha' by Utpal Dutt. Alas! It's a paradise for minuscule audiences while for the rest its 120mins, world of hellhole. Unlike his previous flick, 'Rain Coat', this trenchant piece of work goes dashing down the hopes of many. Reason is so simple: Lots of Shakespearean poesies and you know who loves it the most? Nevertheless, 'Last Lear' would be an epithet of how an enchanting play would be metamorphosed into a blemishing wretched film because of it screenplay.

Siddharth (Arjun Rampal), a struggling auteur with dreams of making films on realisms is on search of some actor who would be a worthy actor to play lead role in his film. He finally settles down on an aged play actor Harry (Amitabh Bacchan), who has no likeliness towards cinema.

But the actor still looks cherished on uttering libretto with a bold tone of voice. Residing in house of closed windows and dim-lit rooms, Harry finds Siddarth going much similar with his ideologies. Well, it all starts with cup of vodkas, cheerful interaction and then what? The curtains rise up in the frame, where Harry plays the role of an ageing clown named Maqbool. Over these hours of shooting for the film, Harry gets into a new friendship with actress Shabnam (Preity Zinta). While, the film is winning grand round of applause at premiere show, but Harry tightly holds him back into his dim-lit dark room with the doors tightly shut. No one cares and the premiere still goes on and here reveals the selfish motives of entities…

On the traits of screenplay, Rituparno Ghosh fails at certain points and more specifically at the flimsy climax. Despites possessing fantabulous theme and strong characterizations, nothing works out the magic. It's not just about these two characters of Harry and Siddarth, but Rituparno depicts a strong color of feminism. Fine! Preity Zinta, Shefali Shah and Divya Dutta dominate the screen during most of the times. But they are worthless, when it comes to narration and Ghosh should have spelt out purely for commercial panoramas. This happens to be the queasiest spoiler of this flick.

But don't miss out the comedic encounters between Arjun Rampal and Amitabh Bachchan. Pointing the individuals moving through their home by roadside and guessing about their profession are a great relief to the anxious audiences. Indeed, their tiff over adding 'Soliloquy' in the film reveals of a realistic encounter between an ambitious filmmaker and stubborn actor.

Nothing to blame on the performance of star-casts: especially the breathtaking performance of Amitabh Bachchan… His stunning action of pleading Arjun Rampal about performing the climax sequence without any dupes is a chef-d'oeuvre.

The exotic locations captured by Abhik Mukhopadyay's cinematography is a grand fiesta of visual treat. While nothing more to do with background score or editing.

If you are planning to get relinquished of watching an exceptional film and if you are ardent fan of Shakespeare and Fedrico Fellini's style of films, The Last Lear would be best one. While for others, it's about dashing their hopes.

Verdict : Fiesta for miniscule audiences

Rating : **1/2