Tag: review

Roohi Movie Review: Laughter Guaranteed In This Small Town Ghost Story

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Roohi

Cast: Janhvi Kapoor, Rajkummar Rao, Varun Sharma

Director: Hardik Mehta

There is a very clear Fukrey vibe to Roohi, in fact there are scenes which will immediately remind you of Choocha and his unhinged love for Bholi, only that there’s a ‘churail’ (ghost) around. And it’s not any ordinary ghost but ‘Mudiya Pairi’ (literally twisted ankles).

In and around Bagadpur, which has people speaking several dialects, there’s a tradition of ‘pakdai byah’ (bride kidnapping). Bhawra Pandey (Rajkummar Rao) and Katanni (Varun Sharma) are among the contract goons who get such weddings done. The twist in the tale comes when they abduct a possessed girl Roohi (Janhvi Kapoor) and then fall in love with her as Sharma hilariously calls it ‘the exercise of imlie’.

Written by Mrighdeep Singh Lamba and Gautam Mehra, Roohi is totally about spontaneity and a solid beginning. Though both Rao and Sharma are in their favourite zone, but their back and forth and punchlines evoke laughs. The first 15-20 minutes of the film have more spoken words than an entire Vishal Bhardwaj film. Director Hardik Mehta (Amdavad Ma Famous, Kaamyaab) has got his hands on the pulse of the young audiences. He knows when to go for the oneliners and when to use overpowering background score to enhance the charm of a jungle and a funny ghost situation.

Because Stree came first, so you might notice similarities but at the core of Roohi lies a lesser complicated idea. The only hindrance is that by the time we reach the point of resolution, almost everything has been repeated at least twice and the viewers are hammered with Choocha and Aaloo (Rao, Ludo) antics. If we avoid nitpicking then it’s actually quite enjoyable, certainly better than the heavy-duty notions hurled at us in the second half.

Kapoor’s quickly shifting moods and voice modulations seem funnier than intended. At one point of time, it begins to feel like a split personality film gone completely awry. Thankfully, Rao and Sharma, mostly the latter, know their boundaries and stick to their strengths.

Mehta, as director, while working with a convoluted script, creates some praiseworthy imageries, like that of an old lady doing cardio or Rao spreading his arms like Shah Rukh Khan in a silhouette. Such ploys instantly create a light mood where one would be more inclined to appreciate the efforts to create situational comedy. Despite being predictable and some disconnected scenes, Roohi has a tone of its own. It’s very talkative and has one point agenda — word play to the most.

You may not remember this 145-minute film for its ideas but you’ll remember it for high entertainment quotient. Just like Hera Pheri, Thank You and Ankhiyon Se Goli Maare, Roohi too establishes an instant connect in spite of outrageous situations and extremely over the top comedy.

Rating: 3/5

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Bombay Begums Review: Nothing More Than A Role Reversal

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Bombay Begums

Cast: Pooja Bhatt, Shahana Goswami, Amruta Subhash, Plabita Borthakur, Aadhya Anand

Creator: Alankrita Shrivastava

Bombay Begums is a classic example of letting go of good opportunities in the name of sticking to the theme. Just when the audiences begin to feel a connection with the show, it changes track. The six-episode show loses steam within first two episodes and then keeps beating around the bush for the rest of it.

Rani (Pooja Bhatt) is a small-town girl who has made it in the big bad world of Mumbai corporates, but she has lately started to sense a change in her moral stances. While Fatima (Shahana Goswami) and Ayesha (Plabita Borthakur) work under Rani in the same organisation, Shai (Aadhya Anand) is her step daughter. Lily (Amruta Subhash), a sex worker, is the fifth vertex of this pentagon. Together they set out to create a story about the struggles faced by the women of different social strata and how they tactfully handle the hostile situations.

It was a good role for Bhatt to make a return to acting but her character couldn’t combat the monotony surrounding her existence in the show and how it was a unidirectional role without any frills. The creator—Alankrita Shrivastava (Lipstick Under My Burqa, Dolly Kitty Aur Woh Chamakte Sitare)—has tried to give her a solid ally in Goswami, but the repetition of sentiments and dialogues disguised as punchlines, have hampered their chances.

Bombay Begums never had any prolonged moments of realisation or even excitement. The crude antagonists are there for everyone to see and the non-judgmental vibes towards the female characters don’t always work in favour of the lead characters.

The show seems to be in a rush to give a clean-chit to the women, who were themselves doing a lot of wrongs. A balanced approach might have found the viewers rooting a little more for them.

However, superbly written characters of Ayesha and Shai provide some solace. They look genuine and have a great identification value. The side tracks don’t work at all as their sole purpose is to fulfil the need of bad guys in the lives of ‘begums’.

Bombay Begums, despite being a mini-series, is stretched and lacks coherence. The set-up never entices the viewers beyond the threshold.

Rating: 2/5

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Drishyam 2 Movie Review: Mohanlal Returns with More Vigour and Charisma

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Drishyam 2

Director: Jeethu Joseph

Cast: Mohanlal, Meena, Ansiba Hassan, Esther Anil, Asha Sarath, Siddique, K.B. Ganesh Kumar

A friend and fellow journalist quipped the other afternoon, “why could they have not stopped with Drishyam 1, instead of coming out with a sequel?” She had a point. Honestly a franchise, and that is what, Drishyam, seems to be transforming into, is hard to sustain. Yes, some like the Bond series have managed to stay on without flagging. But this is more an exception.

The 2013 Jeethu Joseph’s Drishyam was a phenomenal hit, and there were two important reasons for this. Police brutality in States like Kerala is no secret, and the middle class as well as the poor, have borne the brunt of this for years. The other was Mohanlal’s brilliant piece of performance, and he is arguably one of the best in India, nay the world, today, slipping into characters with amazing ease.

Also read: Live Telecast Review

As Georgekutty, a man who could not even clear standard four of his school education, because of grinding poverty, he rises to own a television cable shop, and endless hours of watching films educate him in a variety of ways that comes in handy when he has to keep his small family of wife, Rani (Meena) and two daughters, Anju (Ansiba Hassan) and Anumol (Esther Anil), safe.

When Varun, the arrogantly brash teenage son of the Inspector-General of Police (Geetha Prabhakar playing Asha Sarath), takes a picture of Anju while she is bathing during a school picnic and blackmails her into sleeping with him, things go horribly wrong. Anju in an act of defence kills the boy, and all hell breaks loose.

Georgekutty is not a man to be cowed down, and the rest of the movie is an exciting game of how he foxes the cops and saves his family. The twist, in the end, is simply superb.

Drishyam was remade in several languages – Tamil with Kamal Hassan essaying Mohanlal’s character, Telugu, Kannada, Hindi, Sinhalese and even, believe it or not, Chinese. All of them did extremely well, with audiences everywhere rooting for Georgekutty and his family.

It, therefore, came as no surprise that Joseph would work on a follow-up, Drishyam 2, which has just dropped in Amazon Prime. In Malayalam with the same star cast, Mohanlal and others, the movie, I felt, has a lost a bit of its pulse-pounding excitement that was pretty much evident in the first part.

Also read: News of the World Review

Here Georgekutty (Mohanlal again) has risen up the ladder; he owns a theatre and drives a swanky car. He has started to drink, much to the annoyance of his wife, Rani (again played by Meena). But he soothes her by saying that when he is with friends from the cinema world, a bit of alcohol helps.

The man nurses an ambition. He has a story and script ready, and is on the lookout for a producer. The plot has been published in the form of a book, and later, this will turn the tide in his favour. The old case of Varun’s disappearance, with his body never being found — although audiences would remember that it was buried under the newly constructed police station, a place that the men in khaki would never dream of looking – is still the subject of local gossip, Georgekutty’s rising prosperity fuelling jealousy as well.

When a new police chief takes charge in Georgekutty’s town, the case against him is reopened, and the cat-and-mouse game begins with the teenager’s parents flying down from the US, where Asha Sarath and her husband had migrated to.

Georgekutty’s peaceful family life once again comes under scrutiny, with Anju having developed epilepsy following the traumatic police interrogation in part one of Drishyam. Her condition, pushed by new fear, worsens, but Georgekutty had taken a pledge that, come what may, he would protect his family.

Drishyam 2 narrates how he does this, though this part lacks a bit of the pulse-pounding excitement we saw in the first edition. There are a couple of situations that are somewhat hard to believe, and the courtroom scene is terribly dull.

While Mohanlal sparkles with his cunning outsmarting cops in ways they could never even dream of, the other actors really do not match up to him. In the end, it falls upon him to carry the film on his shoulder.

Drishyam may or may not have another part. Who knows! For, the work illustrates a common man’s middleclass dreams, aspirations and fears – which are universal. It is also about how he feels uncomfortable with the police. Little wonder, then, we root for Georgekutty, we forgive him for his misdeeds, because he is out to keep his family out of harm’s way. And for the world, the family is still precious. Is it not?

Rating: 3/5

(Gautaman Bhaskaran is a movie critic and author of a biography of Adoor Gopalakrishnan)



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Live Telecast Review: Kajal Aggarwal’s Film is a Tasteless Cocktail of TRP and Supernatural

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Live Telecast

Director: Venkat Prabhu

Cast: Kajal Aggarwal, Vaibhav Reddy, Kayal Anandhi, Priyanka, Subbu Panchu, Arunachalam

The Coronavirus pandemic led to a spurt in web content. What in the initial days of Covid 19 began as a more-or-less sensible form of sit-at-home entertainment now appears to have slipped into a race for one-upmanship. And much like the umpteen number of streaming platforms that indulge in cut-throat competition with one another for higher TRP, callously ignoring novelty and substance, Tamil director Venkat Prabhu’s first foray into a web series with Live Telecast – just out on Disney+Hotstar – hits precisely on this in a seven-episode story of how a channel in its bid to out-beat others, stoops to the most unethical of means.

Titled Dark Tales, the TV show revolves around a team, led by Jenifer Matthew (Kajal Aggarwal), which invites men and women who have experienced paranormal events. But Matthew invariably twists the climax in every tale to make it scarier and tragic! In a world that is fighting irrationality, blind belief and superstition, she promotes these very concepts in her programme and makes them appear real.

So, when a couple drives down to a lonely wooded area at night to snatch a few moments of intimacy, the man is mysteriously dragged away. The woman returns home in a state of panic. This Dark Tale ends there, but in reality, the man comes back after a while – a fact that Matthew keeps hidden from her viewers – though much to the chagrin of her colleagues.

However, when in another episode she gets her cast to enact a scene of a woman being raped by a ghost, there is a huge hue and cry. The promoters of the programme pull the plug leaving Matthew bitterly lamenting that Indian audiences have “no taste to enjoy something which is of international quality”.

And in vengeful anger, she thinks up of another plot, this time in a supposedly haunted house in Yelagiri (a hill resort in Tamil Nadu), putting the lives of the family which resides there and of those in her team in peril.

Live Telecast, contrary to Matthew’s contention, is miles and miles away from “international quality”. Recent web series like The Undoing and Lupin among several others are those which make the grade. Not Live Telecast.

Prabhu’s work was conceived as a feature film a decade ago, but he seems to have turned it into a web series. The time lag shows, and Live Telecast is so jaded and dated that it is a pain to sit through the episodes. The writing is careless, the characters have not been etched out, and Aggarwal is awfully disappointing, walking in and out of her scenes in tearing hurry.

Eminently avoidable.

Rating: 0.5/5

(Gautaman Bhaskaran is a movie critic and author of a biography of Adoor Gopalakrishnan)



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To All the Boys Always and Forever Movie Review: Cliched But A Perfect Valentine’s Day Watch

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To All the Boys Always and Forever

Cast: Noah Centineo, Lana Condor

Director: Michael Fimognari

Three years ago, when Lara Jean’s (Lana Condor) sister Kitty sent out her secret love letters to her crushes, we all secretly wished to have a sibling like her. She did create a mess for Lara but it made her land up with the super charming Peter Kavinsky (Noah Centineo). Lara and Peter have been ‘couple goals’ since then and they continue to be in the final film of the trilogy—To All the Boys: Always and Forever. And watching Lara and Peter cuddling on a warm couch is what you exactly need in the month of love.

The third film begins with Lara having the time of her life with her sisters vacationing in different continents. She is also preparing for her last year in high-school and is busy building a fantasy world picturing what life with her family, friends and Peter will look like after graduation. But Lara’s imaginary world collapses when she learns to have been accepted to a college far away from Peter’s college. They’d soon be out of each other’s sight, which is horrible to even think about.

At the same time, Lara cannot help but be fantasised by the possibility of living in New York City. Here, we get our tipping point for part 3—Long Distance Relationships (LDR).

To All the Boys franchise has been repackaging the same old rom-com clichés in all the films and the final part is no different. The first film, To All the Boys I’ve Loved Before, lured the audience with the charm of first relationships and dreams of a happily-ever-after, whereas PS I Still Love You established Gen Z as confused about the concept of love as any other generation. It was about the tough parts of being in a real relationship and how to communicate through messy complications and deceits.

The final film Always and Forever serves the Internet generation. Like a conventional high school rom-com, it has a damsel in distress, a charmingly protective boyfriend, fears of separation and a flashy prom. Yet it manages to be refreshing and enjoyable. The sole credit for it goes to Lana Condor and Noah Centineo. They are so relatable that you cannot help but wonder how you’d react in their situation. Turns out, most of their chaotic and unplanned decisions are very doable when you’re a teenager.

At the heart of it — what holds the franchise together — is that the characters want the things we want: To love, be loved, and chase our dreams. Always and Forever aims to be playful but with greater consequences.

This time Lara comes around as the decisive force. She listens to herself, learns to trust her choices, and communicates those choices to Peter. A mature change we expect from somebody who stepping into the professional world.

With a blast of indie-pop score and a clever attempt at cinematography, To All the Boys franchise turns out to a fair adaptation of Jenny Han’s three-part novel. After the success of the first part, the second film did take a dip but the final outing covers for it.

Not to be too taken seriously, it’s a fun watch. The trilogy can be this generation’s Friends with Benefits or A Lot Like Love.

Rating: 3.5/5



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The White Tiger Movie Review: Adarsh Gourav, Priyanka Chopra Try Lifting A Jumbled Up Film

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The White Tiger

Cast: Adarsh Gourav, Priyanka Chopra, Rajkummar Rao

Director: Ramin Bahrani

“The Indian entrepreneur has to be straight and crooked, mocking and believing, sly and sincere, all at the same time.”

Balram Halwai (Adarsh Gourav), while continuously breaking the fourth wall through dialogues and gestures, readies us for the ‘dark times’. He asks us to not take the opening of the film on its face value as his story is not what it seems to be.

Director Ramin Bahrani (Man Push Cart, 99 Homes) focuses on the difficult choices made by an ambitious, fast learner and conniving Jharkhand boy in The White Tiger, based on a synonymous book by Aravind Adiga. In the process, he tries to explore the caste and economic divide and how they’re interrelated in modern India, which is not always about the shining module projected to the world. However, most of it fails to fetch any second looks.

Gourav stands his ground against Priyanka Chopra, who is brimming with confidence and a fantastic screen presence, and Rajkummar Rao, who struggles during accent swap. Because the narrator and the central character are one, bringing many sides of the story must have been tedious for Bahrani, but he somehow manages to give the audience a picture of how the rural-urban segregation could have worked during the initial days of liberal economy.

Despite promising a darker tale in the beginning, The White Tiger rarely ventures beyond the obvious. There is no denying that the privileged part of the West might find some portions unsettling, but overall, it doesn’t impact to the level that you begin pondering about the natural progression the story could have followed otherwise. Not comparing with Slumdog Millionaire, but at least Danny Boyle got the shock value to the optimum. Here, Bahrani entangles himself in metaphors that don’t generate any curiosity or are totally lost in translation.

Read: Coolie No 1 Movie Review

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I also have issues with celebrating grimness or justifying poverty or being underprivileged as the ultimate catalyst to crime, which unfortunately is the sole reason behind the bulk of Gourav’s deeds in the latter half. Even if it is not directly about the victim and the predator, you wouldn’t want the makers to cheer for the right person while standing in the wrong court.

Also, because a lot has changed since the release of the book in 2008, some plots could have been read in a new light. One thing that has categorically changed in last 12-13 years is the upliftment of the high aspirational values of the youth, both rural and urban. With the support from the government and some protection by the law, youngsters probably wouldn’t go down the ambiguous path of fraud and crime. It’s debatable though.

The White Tiger,streaming on Netflix in India, keeps feeding the same poor-guy-turned-criminal narrative to its takers. It hardly shows any intentions of scratching beneath the surface. Not intriguing enough.

Rating: 2/5



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Tandav Review: Saif Ali Khan Plays to the Gallery in This Entertaining Political Thriller

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Tandav

Cast: Saif Ali Khan, Dimple Kapadia, Sunil Grover, Kumud Mishra, Zeeshan Ayyub

Creator: Ali Abbas Zafar

Blame it on the successful Amazon Prime Video model in India that most of their Hindi thrillers follow a certain template. Be it Mirzapur, Inside Edge, Breathe, Paatal Lok or its latest outing Tandav, the streaming giant relies mostly on set pieces. But it’s not a bad thing as these shows have mostly been entertaining and know a thing or two about their potential audiences.

Tandav, created by Ali Abbas Zafar and headlined by Saif Ali Khan, is the latest noisemaker in the Hindi OTT space and definitely plays to the gallery, and along the way, gives the viewers ample hints about how Bollywood sees a web series as a 9-episode extension of a typical film rather than a separate entity. Zafar (Gunday, Tiger Zinda Hai) also adds his touch to the production, and as a result, the twists-laden narrative keeps shifting goalposts.

Though the makers could have chosen a less stereotyped name than Samar Pratap Singh (Khan) for their anchor, a conniving yet vulnerable scion of India’s most powerful political family, they give the actor a nice arc to work with. Some may find similarities between Tandav and Prakash Jha’s Raajneeti, but to be honest, mainstream Hindi filmmaking has hardly shown any will to make sensible and serious political drama till date.

Read: Coolie No 1 Movie Review

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Tigmanshu Dhulia plays Khan’s father a la Wasseypur style but the new JP Singh is better carved out. Then there are other players like political rivals—Dimple Kapadia and Kumud Mishra—revolutionary students—Zeeshan Ayyub and Kritika Kamra—and a henchman—Sunil Grover in an image-changing role.

There are some tricks and treats and how Samar battles at many fronts also contribute generously to the dance of fury.

Written by Gaurav Solanki (Article 15) and Zafar, Tandav owes massively from the perception that you have to be dirty and somewhat criminal to be successful in electoral politics, so we keep meeting corrupt leaders, trigger-happy cops and derailed media bosses. It may not look good in principle but it spices up proceedings quite a bit, and thanks to the overdose of blood and gore OTTs are filling us with, Tandav appears familiar and tolerable, meaningless though. But who cares till it is glossy and everyone’s cheeks are trembling with anger and fear. Am I missing Hrithik Roshan here!

To me, Khan seems more genuine whenever he plays negative characters. Maybe he should do more of such roles. Not calling it villainous because it’s not totally black in the first five episodes that were provided for the review purpose. He knows his territory and is continuously evolving as an actor. Isn’t he experimenting more than his contemporaries lately?

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Dimple Kapadia is good despite hamming but the same can’t be said about Kumud Mishra. I wish I hadn’t seen Ram Singh Charlie and Thappad before his forced laughter in Tandav.

The show may pick up in later episodes but first five display all the trappings of a ‘masala’ Bollywood production with absolutely nothing to ponder about once it’s over. Before you tag me pretentious, I would reiterate that Tandav is entertaining, provided you have a high appetite for projected punchlines and audacious behaviour.

Rating: 2/5



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Kaagaz Movie Review: Pankaj Tripathi’s Emotive Range is Laudable in This Social Commentary

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Kaagaz

Director: Satish Kaushik

Cast: Pankaj Tripathi, Monal Gajjar, Mita Vashisht, Amar Upadhyay, Satish Kaushik

What I really liked about Kaagaz, now streaming on ZEE5, was Pankaj Tripathi’s performance. Honestly, I had been a tad bored with his style that had remained much the same in film after film: his soft dialogue delivery, his unassuming mannerisms and even his looks. Whether he played a villain or a parent, his tone and volume were uniformly the same. But in Kaagaz – helmed by Satish Kaushik (who also portrays a lawyer in the movie) – Tripathi’s Bharat Lal unleashes a wide gamut of emotions which range from the subtle and soft to the fiery. As a father of two children and husband (wife essayed by Monal Gajjar), he is sweet, but later on, when he stands cheated and helpless, he transforms into a man of steel with a never-say-die attitude; his dialogue delivery and demeanour matching this transformation.

Kaagaz is a satire narrated with sincerity and passion, and takes on the bureaucracy by its horns, so to say. The film is a movingly powerful reflection of how India’s poor continue to be treated even today – almost 74 years after the country won its independence from decades of foreign dominance, first by the Mughals and then British. In a way, India’s poor, most of whom live away from urban conglomerations, remain as poor as they were and still face the brunt of a largely unfeeling and corrupt administration.

Bharat Lal’s problems begin when he gets egged on by friends and wife to expand his small band outfit. The group plays different instruments at marriages and even funerals. So, Lal decides that he must add to his little shop, and goes to a bank seeking a loan. The bank is fine with granting him one, but he must produce some security. Lal remembers that he has a small piece of land adjoining his uncle’s at a distant village. But when he reaches his uncle’s place, he is shooed away and told that he has been declared long dead. On paper.!

This has been one of the biggest banes in India; people “bumping off” their relatives by getting a declaration from the local administrative office. A piece of paper (Kaagaz) that literally turns a man into a corpse!

And then begins, Lal’s tryst with his unbelievably shocking destiny. He bangs many doors, gets the media to write about his plight, even meets a politician (Mita Vashisht) and in the end forms a political party. All this while, and it takes years, his band gets disbanded, his income and savings hit rock bottom and his family suffers in silence.

Kaagaz looks at the way justice is meted out in this country, and how the poor and those without any political influence are relegated to a life of hurt and humiliation.

The movie does well in bringing this out, but where it falters is in the manner it seeks to narrate the story. It is so exaggerated that it begins to look silly. A greater control over the script may have made Kaagaz into something more authentic. It goes beyond the realm of parody, and a tighter leash on characterisations and scene conceptualisations could have gone a long way in turning Kaagaz into a more worthwhile watch.

Rating: 2.5/5

(Gautaman Bhaskaran is a movie critic and author of a biography of Adoor Gopalakrishnan)

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Coolie No 1 Movie Review: Varun-Sara’s Film Is Not A Patch On Govinda-Karisma’s Film

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Coolie No 1

Cast: Varun Dhawan, Sara Ali Khan, Paresh Rawal, Jaaved Jaaferi

Director: David Dhawan

Not that the Govinda-Karisma starrer Coolie No 1 of 1995 was a great film but it had an inherent and very natural funny vibe to it, so typical of most of David Dhawan’s slice-of-life comedies. A simple storyline, absolutely spot-on comic timing, and addictive songs.

Dhawan’s films such as Aankhen, Shola Aur Shabnam, Coolie No 1, Judwaa, Hero No 1, were mostly those middle class poor guy-rich girl type of stories that made us notice the simplicity of the idea and their fun execution. Unfortunately, nothing similar can be said about Dhawan’s latest—Coolie No 1 remake—featuring his son Varun Dhawan and Sara Ali Khan. It’s tiring and irritating to see Dhawan senior losing his touch and presenting a half-baked product that has nothing to call its own, other than a couple of unremarkable oneliners and surprisingly tacky makeup.

The story remains the same. Rozario (Paresh Rawal), a Goa hotelier, insults Jaikishan (Jaaved Jaaferi), a matchmaker, and the latter settles the score by getting rich Rozario’s daughter Sarah (Sara Ali Khan) married to a poor station porter Raju (Varun). In between, there are song remakes, scenes remakes, and dance remakes. Imitation is definitely the sincerest form of flattery, especially if it is of your own film!

For a movie that is still stuck in the ‘90s, the absence of actors like Kader Khan, Shakti Kapoor, and Sadashiv Amrapurkar, is a big blow even if you refrain from comparisons. There’s not much left to do though!

Totally lackluster dialogues and the absence of intent don’t raise the level of cringe to the required level. Where is that spontaneity and the Govinda magic?

Sample this dialogue:

Heaven on the docks man,

I am ‘lomdi’ and the fox man!

Or, this one:

Jab meri beti ho gayi iski,

Toh it’s only rum and whiskey!

I don’t see anyone laughing!

Then there are frequent imitations of Bollywood stars in bizarrely disinteresting ways, and in the middle of all this unintentional chaos, Sara Ali Khan keeps standing on the balcony in search of a savior, not for her but the film. Either she knew what was going to happen to the film and wanted to get out of the sets as soon as possible, or what they say about nepotism is true. It’s not a film she would like to be remembered for.

Read: Chhalaang Movie Review

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And I haven’t even touched on the issues of the generational gap, gender sensitivity, religious bias, and Rajpal Yadav’s acting.

A dialogue from Govinda’s Dulhe Raja sums up Coolie No 1 remake: “Nanga nahayega kya, nichodega kya.”

With 134-minute runtime, it seems like a never ending saga of painful comedy and mistimed tragedy. Please carry your own luggage.

Rating: 1/5

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