Shahrukh Khan's New Movie Ra.One Review and Wallpapers

Ra.One	OverView
	Producer: Gauri Khan Director: Anubhav Sinha Starring: Shahrukh Khan, Kareena Kapoor, Arjun Rampal, Shahana Goswami Music: Vishal-Shekhar Lyrics: Atahar Panchi, Vishal Dadlani and Kumaar Genre: Action Recommended Audience: General Approximate Running Time: 160 Mins Film Released on: 26 October 2011

Despite being a big budget film with some slick special effects Ra-One - directed by Anubhav Sinha (Dus, Cash), does not deliver the creativity or panache that viewers associate with many Western superhero films. It also falls short of the benchmark set by director S.Shankar for sheer, in-your-face, sci-fi fun in Enthiran. Shah Rukh Khan has reportedly invested hundreds of crore in this - his own production, as well as launching a global media campaign and the sale of merchandise. But even though the film has broken new ground in the sophistication of its special effects - it simply lacks heart. Not H.A.R.T. which is some wiz-bang acronym for the source of Ra-One’s power but good old-fashioned Bollywood heart - D.I.L. - that which the best Hindi films have in dollops.

It is quite a fast paced film about a geeky dad Shekhar (Shah Rukh Khan) who tries to win the affection of his son (Armaan Verma) by creating a video game called Ra-One in which the bad-guy potentially wins. What begins as a game spills over into reality as the villain (Arjun Rampal) takes control doing battle with the robotic hero G-One (Shah Rukh Khan) - protector of Shekhar’s family.

When I read that SRK adored James Cameron’s Avatar, I was fearful. Here was a film that took special effects to a new level but in the process lost out in terms of development, characters and ultimately - engagement. Would Ra-One suffer the same fate? It has and it’s unfortunate because Khan is a consummate entertainer but this film turns him into a plastic action figure. Mind you, this may be what he wanted since he has always claimed that he is making Ra-One for his kids. Maybe a Western female of an age is not the ideal audience.

But I love superhero movies. As a child, as an adolescent and as an adult I have been sucked in by this ‘other-worldly’ yet contemporary form of escapist entertainment. If I was an under-11, I might find aspects of Ra-One such as the kiddie-culture and game - interesting but ironically, in some countries the film has been classified as requiring parental guidance. I know that in India - films for a young audience are a new phenomenon so maybe Indian kids will respond to Ra-One as Western kids have responded to Spiderman. I just don’t believe that there is great ‘cross-over’ potential here.

Ra-One comes unstuck post-intermission because it does not ground its characters sufficiently in the first half. Shekhar is goofy and cartoon-like, his wife Sonia (Kareena Kapoor) is feisty and looks hot, their son is cool - that’s it. Some lame stand-off between father and son but no real tension. We are propelled into the second half with the dramatic entry of G-One who, it turns out, is rather like Rizvan Khan from Johar’s My Name is Khan (minus the charisma). So where can SRK display his wonderful propensity for emoting - in cartoon-man or plastic-man guise? At least in Rab Ne Bana Di Jodi there was a human Suri to counteract the parody of Raj. I think I even prefer Mohabbat Man (Om Shanti Om) to the characters in Ra-One at least he was funny.

The humour in Ra-One is rather ‘wannabe’, verging on low-brow. Too many ‘jokes’ about kicking guys in the privates. There’s also a tacky moment at the airport when a customs official is sexually aroused by Khan’s body piercing on various unconventional body-parts. (So this is really a film for kids?) Despite a sleuth of writers responsible for delivering the screenplay and dialogues, the result is unimpressive.

A startling omission from the screenplay is the time of ‘realisation’ when a superhero is coming to terms with his powers and the audience is discovering what they are. G-One is born complete - no uncertainty, no transformation, no angst - he’s just there. His powers like Ra-One’s are - strength (yawn), speed (yawn) and some morphing (from the villain). Back stories enliven superhero narratives with their links to mythology and dark pasts. Barring the Raavan connection to Ra-One’s name and Jeevan (Life) link to G-One there is no context worth mentioning. Such a pity because a good back-story provides the idea and franchise (if it is to eventuate) with its longevity.

The songs were enjoyable enough although the gutsy “Raftarein” (Vishal- Shekhar) could have been made a feature instead of being tacked on during the credits. Khan’s goofy persona in the songs grew a little tiresome and the superhero could have received some spotlight.

With international input at all levels of production - screenplay, editing, photography, music and action co-ordination, Ra-One is still unlikely to ‘cross-over’. Maybe though, a new generation of Indian kids will find pleasure in playing with their action figures.

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Vedi Movie Review and Stills

Vishal's Vedi which stars Sameera Reddy as the female lead and directed by Prabhu Deva is all set for release on the 30th of September.

The film which was produced by Vikram Krishna under the banner of GK Film Corporation (Vishal's Brother) has now been taken over by Sun Pictures for distribution.

The movie was earlier supposed to be titled Prabhakaran, as Vishal plays the role of Prabhakaran in the movie, but due to the similarity of the name of the LTTE leader, the movie underwent some trouble which is why they changed the film's title to Vedi. 

Vedi is the remake of the Telugu movie Souryam, which had Gopi Chand and Anushka Shetty in the lead. In the Tamil version Vishal plays Prabhakaran, while Sameera Reddy plays Aishwarya. The movie has Poonam Kaur in an important role and plays the character Deepa. 

Other cast also include Vivek for comedy relief, Sophie Choudary in an item song, that has been choreographed by Prabhu Deva himself and composer Devi Sri Prasad for a song. Actor Jayam Ravi comes in an extended cameo appearance, while newcomer Bharath plays the villain.

The film's plot mainly takes place in Kolkatta, where the protagonist comes to Kolkatta in search of his lost sister. There he gets in to a fight with the local goons and in the series of events, to defend himself he cuts the arm of a goon. Later he takes up a job in a college in the town and meets with the bubbly girl Aishwarya and falls in love. 

In the mean time the gangster's son finds about Prabhakaran's whereabouts and that he is alive and comes in search of him. That same person would have misbehaved with Aishwarya and when he had to catch Prabhakaran he finds out about Aishwarya's friend who happens to be Prabhakaran's sister and he uses her to get to Prabhakaran and kidnaps her. 

Prabhakaran who has come to the city in search of his sister, informs Aishwarya about the same and goes finding her and bashes up the goons and takes his sister from them. At this juncture we get in to a flashback of why Prabhakaran loses his sister and why they end up separated and why his sister hates him. What happens next does the goons get hold of Prabhakaran and does he out win them, forms the climax

Vedi Movie Tid bits

• We hear that before finalizing on Sameera Reddy the role was initially offered to Trisha, who did not accept as the role did not impress her, then to Anushka herself who played in the original Telugu version, but rejected as she did not want to do the same role and later to Hansika Motwani who said no as her dates were full.
• Later names like Samantha, Kajal Agarwal, Tamanna and Reema Sen were reported by media, but finally Sameera filled in the place, who was very much happy to work under the direction of Prabhu Deva.
• This is the next film Vishal is giving in this year after a laudable appreciation for his performance in his previous release Avan Ivan.
• About 80% of the film was shot in Bidar, a small town near Hyderabad.

The film's music is composed by Vijay Antony and here are list of tracks from the film. The music was launched on the 5th of September. 

"Enna Aachi" 
Lyrics - Na. Muthukumar 
Singers - Vijay Yesudas, Janaki Iyer

"Ichu Ichu" 
Lyrics - Kabilan 
Singers - Vijay Antony, Sangeetha Rajeshwaran 

"Ippadi Mazhai" 
Lyrics - Thamarai 
Singers - Karthik, Saindhavi 

"Bombay Ponnu" 
Lyrics - Thamarai 
Singers - Mamta Sharma, MLR.Karthikeyan, Senthil Dass 

"Kadhalikka" 
Lyrics - Vaali 
Singers - Emcee Jezz, Naresh Iyer, Andrea Jeremiah, Rap Vocals Sharmila

Vedi Movie -Overview
Directed by - Prabhu Deva
Produced by - Vikram Krishna & Shreya Reddy
Written by - Shiva
Music by - Vijay Antony
Cinematography - RD Rajasekhar
Editing by - VT Vijayan
Studio - GK Film Corporation
Distributed by - Raadan Media Works (Tamil Nadu) & Sun Pictures (Worldwide).

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Ra.One Music Review

Expectations. Expectations and more expectations. This is how one looks forward to the music of Ra.One and why not, after all, this is the biggest Shahrukh Khan film ever in terms of the buzz created along with immense hype since it was launched. The last time music directors Vishal-Shekhar and 'BaadShah' Shahrukh Khan joined hands, the result was Om Shanti Om(2007) which is still considered the best work by the duo who also erupted a volcano last year in the name of 'Sheila Ki Jawaani' (Tees Maar Khan). So are these expectations met? 

Well, very much so as each of the seven unique tracks along with a few instrumental themes and remixes bring on a variety that makes Ra.One a winner all the way!

The soundtrack opens with “Chammak Challo” , which has already gained popularity for two reasons. First, due to its leaked International Version on the net three months ago, second, a renowned International artist- Akon, has been roped in for this Indo-Western unique composition. If that is not enough, hear the lyrics 'Tu Meri Chammak Challo, Teri picture ka main Hero', written by Vishal Dadlani and Niranjan Iyengar. The brilliance with which Akon renders the Hindi vocals can even give Ash King (“Te Amo” and “I love You” fame) a complex for his Hindi dictions. Hamsika Iyer, who is a regular voice with ad jingles, lends good support to him and makes the composition highly addictive and one that will be remembered for some time to come.

Vishal-Shekhar are also on the verge of breaking Pritam's record for most number of versions of a particular song by providing four alternative versions ofChammak Challo. First on the line is “Chammak Challo Punjabi Mix” which has 'plug-it-on-and-dance' flavour that is designed for dance floors as well as parties. “Chammak Challo Club Mix and Remix” makes the experience even better with “Chammak Challo International Version” (leaked version) being a solo outing for Akon with no Hamsika Iyer. But where’s the variety? Maybe one version too many then.

Shafqat Amanat Ali, Vishal Dadlani, Clinton Cerejo, Shekhar Ravjiani…yes that’s the list of singers for the next romantic composition “Dildaara-Stand By Me” (based on Ben.E.King's classic 'Stand By Me'). It's melodious, breezy and a sure shot chartbuster from the word 'Go'. Shafqat Amanat Ali comes out of his sufiana-comfort zone and once again his voice reminds you of Shankar Mahadevan, but nevertheless he has been used beautifully with good support from others for the English rendition. Check out some innovative vivacious classical notes with rock beats from 2:10 to 2:30. The lyricist Kumaar, a hot favourite for Vishal-Shekhar, does a commendable job once again with his pen. However, one more antara could have been included but nevertheless it's a song which could be played in loop for hours at a stretch.

“Criminal” a 'qaatil' composition for which Vishal Dadlani and Shruti Pathak join Akon, has all in it to be a havoc at the discotheques. An immensely innovative track which will certainly gain appreciation at an international level. It's high on Vishal-Shekhar trademark orchestra and drum beats and is filled with English and Hindi vocals with some apt lyrics written by Vishal Dadlani and Kumaar. Akon impresses again with his Hindi dictions and Vishal Dadlani stands tall with him. Shruti Pathak after 'Aas Paas Hai Khuda' and 'Tujhe Bhula Diya' from Anjaana Anjaani is used well by the composers in a male dominated song where the protagonist is describing the 'latka-jhatkas' of his lady love as 'qaatilana'. Undoubtedly the song needs to be promoted aggressively (SRK is all guns blazing for this number) and will be a rage once the video is out. “Criminal Club Mix” provides nothing extraordinary with some usual bass and increased tempo. The original is far better.

Ever heard a fusion of Tabla beats and English renditions? Try this next six minute composition “Bhare Naina” which falls in the same corridor as Piya Kesariyo from Hum Tum Shabana. Crooned by Nandini Shrikar, it starts with a haunting prelude which seems the basic theme of Ra.One as it is heard again in the interludes and in other tracks as well, including an instrumental. Vishal Dadlani and Shekhar Ravjiani join in and their English vocals and Sanskrit enchants in this classical cum western outing, which shows an altogether different facet of the composer-duo. Panchhi Jalonvi’s lyrics are fresh and at the same time painful. While one waits to see it rise in popularity in days to come, one feels it has potential to enjoy a long shelf life.

After four awesome compositions we get an average number called “Right By Your Side” , an animated, techno-peppy song by Siddharath Coutto and written by Anvita Dutt. Though Vishal Dadlani renders full support to 'Life Sahi Hai' (Pyar Ka Punchnama) fame Sid Coutto, the music is well below the standard set previously. Passable.

Moving further, “Raftaarein” executed by vociferous Vishal Dadlani (who is also the lyricist for this one) and Shekhar Ravjiani is a blusterous composition which could leave you stunned by the power packed vocals and hommage to R.D. Burman’s style from the 70s and 80s ('Duniya Mein Logo Ko'). It defines the overall theme of Ra.One and will find its place at various junctures in the movie post interval. The surprise element comes in the form of Shekhar Ravjiani who after crooning “Bin Tere Unplugged” from I Hate Luv Story's (2010), proves his menace as he overpowers Vishal's audacious voice. An electrifying composition, it will certainly be an interesting watch in the big screen with SRK's superhero avatar.

For “Jiya Mora Ghabraye (The Chase)” , director Anubhav Sinha's makes his presence felt as it is quite similar to the themes of his previous ventures Dus(2005) and Cash (2007). It’s more of an instrumental where a talent like Sukhwinder Singh is wasted by making him render some classical notes and alaap which seems a bit unnecessary in a total rock feel environment. As a rock-theme instrumental it might work but expect nothing much from the lyrics and vocals.

What continues after these seven tracks is a series of instrumentals, three in number, each about one and a half minutes duration and almost the same theme that is heard in the previous songs. First in line is “Comes The Light (Theme)” which gives a mild feeling of Don-The Chase Begins Theme. “I Am On (Theme)” is a fast instrumental of the song “Raftaarein”. “Song Of The End (Theme)” as the name suggests is sad one and may be used in the climax sequence.

Ra.One is an unconventional album for sure, especially when one looks at it from the Bollywood perspective. Change is good and it is slowly but steadily happening. While Vishal-Shekhar can take pride on coming up with something that justifies a certain quality, SRK and Anubhav Sinha can be rest assured that this is one of their best works till date. With the kind of hype that has surrounded the movie; the music should find instant attention and will grow from strength to strength with over a month before the movie releases. Highly Recommended!!

Ra.One Music Review---Songs and Music Launch

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Jim Henson's the Storyteller Review and Snapshots

"Once upon a time..." is as classic an opening as you're likely to find. Stories that begin in such a way are usually fantasies, myths, or fables - The Storyteller is all three. No matter the subject, one thing is certain: these stories are all fascinating on a very primal level. This boxed set presents a pair of series, produced by Jim Henson, known as The Storyteller (1988) and The Storyteller: Greek Myths (1990). The Henson studio's unique and beautiful vision breathes life into these classic fables and creates some wonderful television. The result is a boxed set that, if you're interested in fantasy, you'll certainly want to check out. 

The first disc contains all nine episodes from the John Hurt-hostedThe Storyteller. Hurt (who was nominated for an Oscar in The Elephant Man and plays the corrupt leader in V for Vendetta) is wonderful in the role of narrator and storyteller. Each episode opens and closes with Hurt and his scruffy dog companion. Michael Gambon fills the same role in the Greek Myths portion, and he's great, but Hurt manages to inject enough mystery and mischief to make you happy when he interrupts the story just so that you can see more of him. 

The episodes found here are more Labyrinth than The Muppet Show. That is to say, the tone and overall design of the creatures is a tad frightening. I'm not ashamed to admit that as a child The Dark Crystal scared the bejesus out of me (not that it still does, no siree, not at all...) and I'm sure that some of the creatures in these episodes would give young children nightmares. If they can stick it through, though, there's something wonderful to be found: the power of stories. 

Each episode explores a different myth, usually Greek, Russian, or German in origin. The first thing that will strike you about these fables is how bizarre they all are. From hedgehog men to a sack that can capture death itself, this is some really whacked-out stuff. But at the same time, it's also wholly original. The stories feel familiar and alien both at the same time. Many of the episodes don't have an easily recognizable theme, even though almost all of them end happily, and that makes the stories more appealing somehow. There are many layers of meaning in each story, covering a broad range of themes from betrayal to hope to love. 

For example, The Soldier and Death tells the tale of a man who, with the help of a magical sack, managed to amass great fortune and respect. Not even Death himself was free from the soldier's wit. However, what happens when Death becomes too frightened to come for him? Oddly, it becomes a very tragic thing. Conversely,Orpheus and Eurydice tells the well-known tale of the man whose music was so beautiful it could charm Hades himself. While most of the episodes end happily, and feature a clear black-and-white moral, there are a few stories that are ambiguous and quite tragic. 

Yet despite the strangeness of it all, the stories are still very compelling. With the exception of the Greek Myths section (which is great in its own right), all of the stories are not well known and this makes them very refreshing. These aren't simply retellings of stories that Disney has already brought to life, but fairytales that you probably haven't heard yet. Speaking for myself, each and every one was a new experience. 

Produced in the late '80s the show utilizes what at the time must have been some cutting edge technology. It's sometimes dizzying trying to identify all of the techniques that were employed (and on a television budget no less!): you'll find green screen, miniatures, animation, and forced perspective all in the same shot. 

Time, however, has not been kind to the effects. The show is not to be faulted for it, but several of the green screen efforts look quite primitive and fake and sometimes so many effects are combined in a single shot that it's difficult to tell what you're looking at. It took me until nearly the last episode to realize that the opening credits sequence basically has the camera coming out of the storyteller's mouth. On the other hand, the creatures are all fabulous. Each puppet, mask, and animatronic creature lives up to the Jim Henson name. 

All of the Storyteller episodes are penned by Oscar-winner Anthony Minghella (The English Patient, Cold Mountain) so it shouldn't come as a surprise that the writing is excellent. However, that brings us to the show's main flaw: the episode runtime. Twenty-two minutes may be enough for a comedy, but rich stories such as these are hampered by the restricted length. 

Characters are not given much room to breath and occasionally some big plot points (like where Perseus got his winged shoes) are left unaddressed. If this had been a forty-minute series, the show could really have been something great. The humor, while expected, doesn't always work and it seems that the overall tone of the show could have been enriched had the producers gone for a more lyrical feel and ditched the sarcasm outright. 

With these episodes Jim Henson sits by a crackling fire, leans forward in his chair, and whispers: "Once upon a time...". So find a comfortable spot to sit, relax, and ready your imagination. Watching as a master storyteller works his magic is an experience you'll not soon forget. These stories, much like some of the best stories ever told, feel like dreams. 

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Zindagi Na Milegi Dobara Review

Producer: Ritesh Sidhwani, Farhan Akhtar
Director: Zoya Akhtar
Starring: Hrithik Roshan, Farhan Akhtar, Abhay Deol, Katrina Kaif, Kalki Koechlin, Ariadna Cabrol, Naseruddin Shah
Music: Shankar Ehsaan Loy
Lyrics: Javed Akhtar
Genre: Drama
Recommended Audience: Parental Guidance
Film Released on: 14 July 2011

For the trailer of a movie that earned 55 million views within 48 hours of release, there’s a whole lot to expect! And for the very movie that features stalwarts like Hrithik Roshan, Kalki Koechlin and Abhay Deol, the expectation meter rises even further. Furthermore if the film is written and directed by a filmmaker who has previously helmed quality cinema like Luck By Chance you obviously expect nothing short of the moon from it. With the music already doing well enough on the airwaves and the television promos being an absolute rage due to the realistic conversations between the three male protagonists, Zindagi Na Milegi Dobara turns out to be a Hindi movie that one sincerely hopes would be a perfect bang for your buck. And besides, the movie is produced by the likes of Farhan Akhtar and Ritesh Sidhwani, who have consistently given us quality such as Dil Chahta Hai, Lakshya, Don: The Chase Begins, Honeymoon Travels Pvt. Ltd., Rock On!! and Karthik Calling Karthik.

Now let’s look at the other side of the coin. Rumors floating about it being similar to the Todd Philips directed Hollywood franchise The Hangover and Farhan Akhtar’s own debut directorial vehicle Dil Chahta Hai are dampening the spirits of the potential moviegoer. Even so, the hilarious trick of posting a very random spoiler over BlackBerrys as forward broadcast messages has met with diverse reactions and further inhibition toward the film. Now the only question that must be in every movie viewer’s mind would be “Should I watch the film or would I rather go for Harry Potter and skip this instead?”

Set in Mumbai, London and Spain, the movie’s about the one thing that you’ve always wanted to do with your friends ever since you’ve been there for each other. Kabir Dewan (Abhay Deol) has just proposed to Natasha (Kalki Koechlin) after six months of dating, and now that they’re very close to marriage, he wants to badly go on that bachelor trip he’d planned with his friends Imraan (Farhan Akhtar) and Arjun (Hrithik Roshan) four years ago, before unavoidable circumstances made them cancel it. The location is Spain and Imraan deliberately chooses it for personal reasons. In this trip of a lifetime, Arjun finds love in the form of Laila (Katrina Kaif), Imraan realizes things are not always like the movies, and Kabir himself realizes he’s not ready for marriage. The events that unfold will get them to realize themselves, and life as a whole…

Now before some conclusions are hurriedly made, let me clear some things at the very outset. As far as the similarities to The Hangover are concerned, yes, they’re going for that bachelor trip before he marries, but the similarities end right there. And with regards to more similarities in connection with Dil Chahta Hai, the movies are poles apart. Agreed that the male bonding aspect does remind us of Dil Chahta Hai but let’s face it, male bonding as an aspect will be a universally similar thread. The story and screenplay written by Zoya Akhtar and Reema Katgi (of Honeymoon Travels Pvt. Ltd. fame) is original, and more so a refreshing take on ‘living life to the fullest’.

Though her story is simple and might have been told quite a few times before, what brings out the best in the screenplay is the development of each character through the journey the three main protagonists walk upon these 2 hours 35 minutes of the film. Be it Imraan’s search for his biological father against his mother’s wishes and his shocking discovery on learning the painful truth, or even Arjun and his mechanical ways of working, inhibited by his fear of not being able to earn more than enough, or even Kabir’s commitment phobia, you can see a bit of yourself in each of them. What impressed me was also Kalki Koechlin’s ever progressive character, even in a short role. Also, Kaif’s beautifully written character makes us root for her throughout.

Zoya Akhtar has handled the execution with utmost maturity, being sensitive about each scene and the authenticity that goes into them, be it the pranks they play in the bar and the toilet, or Imraan’s constant flirting with Laila, or even Arjun’s self discovery by breaking free from the shackles of his fear of drowning, we know we all have those demons, and probably don’t want to deal with them (at least till the time we’re going to deal with them!). And what works is the linear narration throughout most of the film, making us feel we all are going on a journey. Dialogues by Farhan Akhtar are poignant when needed the most (watch out for the scene in which Katrina Kaif looks Hrithik Roshan in the eye and tells him “Mujhe Afsos Karna Nahin Aata” in one of the most romantic scenes in a long time), and hilarious to the hilt when needed (“Meet Bagwati!”, Doordarshan and some more “the mantally the sick” scenes!) when needed.

And it’s not just the scenes on paper and their execution, it’s the strength in the technical department too that makes the movie a complete package. The movie has been brilliantly shot, thanks to the team of cameramen heralded by Carlos Catalan’s stunning cinematography. Watch out for the horses passing by and Hrithik Roshan’s character suddenly feeling alive. We couldn’t agree more. Alongside that we’ve got stunning shots of the landscape of Spain which will be etched in your mind for a long time after you’ve exited the hall. Editor Anand Subaya has observed a very different type of cut for the film, which goes gradual without frenetic cuts and yet never seems to loose pace. The rules of editing have been tightly observed, and yet the movie doesn’t suddenly get fast when needed or vice versa – in fact the movie remains consistent throughout it’s duration and that’s what makes it a good edit.

Music by Shankar-Ehsaan-Loy makes you appreciate it even more as you watch the film; on-screen, it’s “Ik Junoon” and “Khwabon Ke Parinday” that work immensely, and though “Senorita” acts as an unnecessary speed-breaker, the song grows on you. Lyrics by Javed Akhtar are beautifully penned, and after a horror show in Game, I think he’s back in business with this one. Background score is stunning and melds well with each and every scene, and intersperses the poignant “Toh Zinda Ho Tum”, which is more of a soul-searching poem than anything else. Oh, and how can I forget: “Sooraj Ki Baahon Mein” in an epilogue during the end credits makes everyone smile on their way out, and you might just wait for the song to get over before you’re out.

Performance wise, it is difficult to single out an actor who outshines the rest, because everyone here comes up with a performance that’s memorable. Hrithik Roshan as Arjun excels, and the pain in his eyes and the anger and restraint has been well placed out in the portions of the first half. His transformation from an uptight corporate-type to a carefree soul is superb. Farhan Akhtar is brilliant. Be it his dialogue delivery in funny sequences or him breaking down at the stark realization of his abandonment, we’ve got a winner here too. Abhay Deol is a natural as the polite and articulate Kabir. Kalki is a performer, even in her short role, though the one who takes the cake is Katrina Kaif as a strong woman who believes in living and letting live. The chemistry between Hrithik Roshan and Katrina Kaif is a masterstroke. Deepti Naval and Naseeruddin Shah in short roles work big time.

Overall, this one’s a film that truly deserves to be seen by one and all, ‘cause if there’s any film that teaches you to live life at the fullest after Jab We Met, it’s this one. After heading out of the theatre, I heard one such man saying, “Let’s all go for a crazy trip and do such crazy stuff!” Now I’m not sure if he will ever execute this plan of action, but I sure was as exhilarated as he was…

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