#AbTakChappan2 #HindiBollywoodFilmMovieReview #JohnsonThomas Rating: * *
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#AbTakChappan2 (Hindi) Rating: * * Could have been much better but the weird camera angles and restive shot making makes it a tiresome encounter. Had a decent story to tell but newbie #Aejaz’s fascination for #RGV’s career bending style puts paid to any enjoyment. #NanaPatekar stays resolute and convincing though!#ParullGossain #RamonaNaz #GulPanag #Revathi #AejazGulab #WaveCinemas #AlumbraEntertainment #PontyChaddha #SaharaFilms #RajuChada #GopalDalvi #VikramGokhale #DilipPrabhawalkar #AshutoshRana #Govindnamdeo #MohanAgashe #RajZutshi #AmalMallik
#DumLagaKeHaisha (Hindi) Rating: * * * #Best. Low-budget, low-on-publicity, this a la Rajshri like effort by #YashRajFilms, is a decent enough nostalgia evoking 90’s love story between a fair looking underqualified guy and a horizontally challenged over-qualified woman. Pint sized(short runtime) but gives plenty of bite for buck. Weighty issues are dealt with in light weight irreverence. Humorous writing, Simplistic treatment and pleasant-on-the-ear music makes it an enjoyable experience. #AyushmannKhurana #AdityaChopra #ManeeshSharma #BhumiPednekar #SharatKataria #AndreaGuerra #AnuMallik #KumarSanu
#Kingsman(English) Rating: * * *1/2 #Best. Hugely entertaining slick and sleek spy comic-action thriller the likes of which we’ve never seen before. Even #JohnnyEnglish pales in comparision. #ColinFirth #Mark Strong #SamuelLJackson #TaronEgerton #MarkHamill #MichaelCaine #MathewVaughn #FoxStar #ParagDesai #UniversalCommunications
Hindi Film review
Film: Ab Tak Chappan 2
Cast: Nana Patekar, Gul Panag, Vikram Gokhale, Dilip Prabhawalkar , Govind Namdeo, Ashutosh Rana, Raj Zutshi, Mohan Agashe
Director: Aejaz Gulab
Rating: * *
‘Ab Tak Chappan’ was worthy of praise. It was one of Ram Gopal Verma Production’s better films and had director Shimit Amin lending it disturbing energy and distinctive cinematic guile. This sequel though, is in the class of RGV’s latter dismal efforts and has a style reminiscent of those enervating, tiresome excuses for cinema that has it’s focus waist below- which has of late become the signature style of the RGV hyper-roving enterprise. In fact the opening Nana Patekar monologue reminds you of the same actor’s opening sequence in RGV’s ‘26/11.’ Newbie helmer Aejaz Gulab makes it clear from that opening gambit that he is after all his master’s truest shagird – even though this sequel did not have RGV’s name anywhere in the credits.
Shimit Amin’s film was inspired by the life of celebrated and equally vilified encounter cop Daya Nayak. Aejaz Gulab’s sequel scripted by Nilesh Girkar, is an extension of sorts created to keep the brand alive. It does have a semblance of a story to tell though. Unfortunately it’s done with an unsteadiness that puts you off your stride right from the opening sequence itself.
Sadhu Agashe(Nana Patekar) following the inquiry and cases filed against him, has now resettled himself in the bucolic outskirts of Goa where he is shown to be living an idyllic retired life with his teenage son who is a budding musician of sorts. His wife, (Revathi) was killed off in the first film itself so her presence here is represented through photographs and references to her melancholic poetry. The situation in Mumbai in the meantime has become precarious with underworld Dons gaining back the ascendancy- enough to put the CM, Annasaheb(Dilip Prabhawalkar) on high-alert. An emergency meeting later, and inspite of able contenders for the top-job, the Home Minister, Jagirdar(Vikram Gokhale) is assigned the task of getting Sadhu back into force. Sadhu is lured back to finish the job because his son wants him to get back to being a cop (And it’s not a very convincing reason). Once back, Sadhu gets back into groove, oiling greasy palms for information and getting back into telephonic contact with absconding Don, Rawale(Raj Zutshi). He starts the ball rolling with a fresh set of encounters but this time there’s no effort to mask them as such. They are shown as cold blooded murders in broad daylight with several possible witnesses looking on. There’s little explanation in the screenplay for such audacious impunity. The plot then moves to kill off Sadhu’s son so that the narrative can veer off into a revenge story.
Nilesh Girkar’s script is terribly juvenile in it’s unspooling. The events are scripted without much thought given to realism or propriety. People are shown exchanging confidences in open while secret info gathering meetings take place on the street , atop the bonnet of a car. Even the direction is a little too jittery for comfort. Siddharth More’s overwhelmingly groin-leveled cinematography kills off any interest. The lack of energy, tension and poor structuring of the narrative makes the experience distended.
Shalu(Gul Panag) supposedly a crime reporter aiming to complete her deceased father’s book on the underworld, is shown as having all the time in the world to stick close to Sadhu. None of the characters conform to any sense or sensibility here. performances are usually quite integral to the enjoyment of a film but in this case , despite sincere efforts none of the veteran actors manage to come up trumps. Their sketchy roles are reason enough for that malady. There’s no doubt that Nana Patekar is a dependable actor, but even a resolute performance by him cannot keep this contrived sinkhole afloat!