The medical profession is often referred to as the noblest line of work. But we often hear/read about unscrupulous practices that bring disrepute and disgrace to this dignified vocation. It's often said that the underprivileged or poverty-stricken are most affected by medical malpractices or laxity, but I don't concur with this stance entirely. It affects the upper crust too. Goof ups by health centers or inside the operation theatres is a commonality the world over. The most glaring case in point is that of Michael Jackson, which hit front page news across the globe...<BR><BR>

After attempting erotic thrillers and murder mysteries, Vikram Bhatt delves into the realistic zone with ANKUR ARORA MURDER CASE, which tackles the issue of medical neglect. Besides, this film goes beyond the issue of medical negligence. What happens when justice is denied to the victim's family? Vikram and director Suhail Tatari take the spectator from inside the operation theatre to a courtroom, where an eminent surgeon is tried for medical recklessness. <BR><BR>

Dr. Romesh [Arjun Mathur] was in awe of Dr. Asthana [Kay Kay Menon] of Shekhawat General Hospital. He had a live-in relationship with Dr. Riya [Vishakha Singh], his co-intern and the love of his life. However, when an 8-year-old boy Ankur [Vishesh Tiwari] dies due to Dr. Asthana's medical negligence, Romesh realizes that a good surgeon is not necessarily a good human being as well. <BR><BR>

Together with Ankur's mother Nandini [Tisca Chopra], Romesh sets out on a turbulent journey to fight for what is right. A battle for justice against his mentor, the hospital and the love of his life. <BR><BR>

Reportedly based on a true incident, ANKUR ARORA MURDER CASE focuses not just on the negligence in the operation theatre, but also throws light on the justice mechanism in our country. Come to think of it, a film like ANKUR ARORA MURDER CASE acts as wake up call for many a doctor or those associated with this profession/medical lobbies, besides making the spectator cognizant of the fact that we ought to have a dedicated procedure for speedy disposal of such cases. <BR><BR>

The director develops his characters well, keeps the goings-on as authentic as possible and mounts the tension steadily. The only time the movie gets formulaic is when the warring lawyers are shown in an intimate relationship. Those portions, although handled persuasively, seem pretentious and exaggerated, but Tatari ensures the film is back on track towards the concluding stages. A few sequences before the culmination also seem stretched. Also, the sting operation will have its share of advocates and adversaries. <BR><BR>

Tatari's handling of the intricate subject matter merits admiration and so does Vikram's choice of theme. Besides the taut screenplay, the dialogue as well as the background music accentuates the proceedings delightfully. Ideally, ANKUR ARORA MURDER CASE should've been a songless film. That way it would've enhanced and also justified the cause of making this movie. <BR><BR>

ANKUR ARORA MURDER CASE is embellished with commanding performances. Kay Kay, as expected, is exceptional in a character that has disconcerting shades. Tisca Chopra is splendid as the mother who loses her child. The defenselessness, anguish and suffering she communicates seem so bona fide. Arjun Mathur shines in his part and what's more, stands up to an accomplished actor like Kay Kay in several sequences. Vishakha Singh is proficient, handling her part with sensitivity. Paoli Dam delivers a power-packed performance, managing her character with supreme confidence. Ditto for Manish Chaudhari, who does a commendable job. Vishesh Tiwari is alright. Harsh Chhaya and Sachin Khurana are adequate. <BR><BR>

On the whole, ANKUR ARORA MURDER CASE illustrates and spotlights on the gaffes in the medical profession most persuasively. A heartfelt effort that deserves to be watched!

Farhan Akhtar and Ritesh Sidhwani's Excel Entertainment has produced two films on friendship and camaraderie -- DIL CHAHTA HAI and ZINDAGI NA MILEGI DOBARA -- both leaving footprints in the sand of time. Additionally, films like 3 IDIOTS and KAI PO CHE! explored bromance and bonding amongst friends with utmost sensitivity. FUKREY, directed by Mrighdeep Singh Lamba, also falls in the same space, yet is different from the aforementioned movies. This one's a light-hearted, wacky fare that throws four youngsters in hazardous conditions, but, at heart, remains a fun and joyous ride.<BR><BR>

FUKREY mirrors the mindset of the youth of today who look for shortcuts to raise funds and attain their targets/dreams. However, unlike the aforesaid movies, this one makes no political statement, nor does it tackle larger than life issues. Although the premise/subject material may give an impression that it's a serious fare, the director and writers Vipul Vig and Mrighdeep Singh Lamba strike a fine balance between solemn and humorous. Frankly, the objective is to keep the spectator amused and FUKREY succeeds in this endeavor largely! <BR><BR>

FUKREY is about four youngsters and their tryst to make it big in life. Choocha [Varun Sharma] gets dreams, which Hunny [Pulkit Samrat] construes and decodes into a lottery ticket number. With the motive of acquiring the examination papers in advance, the duo decides to invest more money and reap benefits. Meanwhile, Lali [Manjot Singh] and Zafar [Ali Fazal] too need to fulfill their individual desires and aspirations and join hands with Hunny and Choocha. <BR><BR>

However, things go topsy-turvy when they pick up a loan from Bholi Punjaban [Richa Chadda], a female gangster...<BR><BR>

Post KHOSLA KA GHOSLA!, OYE LUCKY! LUCKY OYE!, DO DOONI CHAAR, DELHI BELLY, BAND BAAJA BAARAAT and VICKY DONOR, there is a barrage of films set in North India. But the similarity ends there. Like I pointed out at the outset, FUKREY is more about the Gen X who are keen to make it big via shortcuts and how they get entangled in a tight spot. The writers borrow from slice of life situations and throw the four characters in circumstances that may seem serious, but the spectator remains thoroughly amused by the goings-on. Additionally, the film stays true to Delhi's colloquialism, but the lines and speech are such that the film caters to a universal audience. Also, the humor is subtle and understated and not in your face tomfoolery and clowning. <BR><BR>

The best thing about FUKREY is its casting and by zeroing on relative newcomers for the principal leads, the makers steer clear of the baggage of image that reputable actors, generally, cart on their shoulders. Besides, FUKREY comes across as a renaissance for Mrighdeep, who faltered in his directorial debut TEEN THAY BHAI. This time, the screenplay moves fast and furiously, the escapades are wild and wacky and the pacing is just right. In fact, the writing is the biggest strength of the enterprise. Dialogue are witty and mirthful. <BR><BR>

The sole problem with FUKREY is that the narrative appears lengthened towards the concluding stages. A crisper culmination would've only facilitated in creating a stronger impact. As a matter of fact, the entire episode of raising the finance, right up to the guys settling the score with the female gangster, could've been swifter and even more compelling. <BR><BR>

Ram Sampat's soundtrack is in sync with the mood of the film. 'Fuk Fuk Fukrey', 'Jugaad Karle' and 'Ambarsariya' are notable compositions. The DoP captures the environs of old Delhi charmingly. Dialogue are amusing and augment the fun quotient. <BR><BR>

It would be unfair to state that FUKREY belongs to any one actor. Pulkit, Manjot, Ali and Varun, each of them gets ample scope to shine in their respective parts. Pulkit is confidence personified. He has the potential to make it big. Manjot is getting better with every film. He's top notch. Ali, last seen in ALWAYS KABHI KABHI, is earnest to the core. First-rate. Varun springs the biggest surprise. He contributes enormously to the laugh-out-loud moments. Richa Chadda is in terrific form and from her introduction itself, the graph of the film steers Northwards. Vishakha Singh is in super form. Priya Anand is wonderful and the scenes with Pulkit win you over. Pankaj Tripathi is, as always, fantastic. <BR><BR>

On the whole, FUKREY is a twisted and delectably uproarious take on the shortcuts the youth of today indulge in. Watch it for the sheer novelty and uniqueness it lays on display. Recommended!

The Deols are back! And this time they promise double the fun, double the masti and <i>dhamaal</i>, double the action, double the masala and entertainment… The pressure to deliver a stupendous hit is apparent when one attempts to carry forward the franchise. Every aspect of that movie has to be bigger and better than the earlier part. The Deols too carry the baggage of enormous responsibility on their broad shoulders. One expects the trio [Dharmendra, Sunny and Bobby Deol], who tasted success with APNE and YAMLA PAGLA DEEWANA, to take giant strides with YAMLA PAGLA DEEWANA-2.<BR><BR>

YAMLA PAGLA DEEWANA-2 maintains the spirit of YAMLA PAGLA DEEWANA, but has a new story to tell. It's a new setting too. Furthermore, a new director [Sangeeth Sivan] gets the responsibility to helm the project this time. In addition, YAMLA PAGLA DEEWANA-2 introduces additional characters, besides bringing in an Orangutan for a pivotal part. The focus, obviously, is on unabashed entertainment, loads of laughter, amusement and thrills. <BR><BR>

The Deols are known for their charm and star appeal and Sivan and writer Jasvinder Singh Bath try hard -- very hard, in fact -- to ensure that the trio charm their way into our hearts yet again. But they don't! YAMLA PAGLA DEEWANA-2 depends largely on the fun quotient and one expects the goings-on/episodes to keep us smiling/laughing for most parts. But barring a few sequences here and there, the humor falls flat. One doesn't mind inane or frivolous situations as long as they keep you hooked, but the writing is slapdash and the impact, therefore, is missing. <BR><BR>

The escapades take place in London this time. Paramveer [Sunny Deol] is entrusted the responsibility of giving a face-lift to a club owned by a tycoon, Yograj Khanna [Annu Kapoor]. Meanwhile, Dharam [Dharmendra] and Gajodhar aka Prem [Bobby Deol] have set their eyes on the tycoon's wealth and arrive in London. The plan is to get Gajodhar married to the tycoon's daughter Suman [Neha Sharma]. But Paramveer, the honest and principled son of Dharam, proves a road-block…<BR><BR>

One expects YAMLA PAGLA DEEWANA-2 to be a roller coaster ride from commencement to conclusion. The writer runs his imagination wild and laces episodes that are wacky and ludicrous, but stretches it too much this time. The problem is that the writer tries to cram too much into one film, but the episodes lack the power to grip you. Sure, the writer and director know who the target audience is, but the fun quotient that you expect from the film is missing. To give the credit where it's due, the Deols do manage to transcend the flaws at times, but the best of actors cannot charm you non-stop if the writing is dreary and uninspiring. <BR><BR>

While the first hour of YAMLA PAGLA DEEWANA-2 lacks the punch, one hopes fervently that the post-interval portions do the trick, like the first installment did. The 'Q' episode seems fascinating initially, but fizzles out later. Ditto for the sequences involving the Orangutan, which could've been a laugh riot. The characters portrayed by Anupam Kher - Johny Lever - Sucheta Khanna are far from comical too. The fight with Sumo wrestlers towards the closing stages too gives the term illogical a new meaning. Seriously, with a lackluster script on hand, there's little that Sivan or the Deols can do to salvage the show. <BR><BR>

YAMLA PAGLA DEEWANA-2 has a strong Punjabi flavor and that's evident in its soundtrack as well. Unfortunately, barring the title track, the songs are plain ordinary. Action constantly gives you the feeling of déjÃ* vu. Cinematography is eye-filling. <BR><BR>

It's a pleasure to watch the Deols in a frame. Nor can you question their dedication. The trio left an impression in APNE as well as YAMLA PAGLA DEEWANA. But YAMLA PAGLA DEEWANA-2 doesn't tap their potential to the fullest. Fans of Sunny Deol will love him when he roars or bashes his opponents with his <i>dhaai kilo ka haath</i>. Bobby gets a number of sequences to prove that he's an all-rounder and he does quite well. However, the scene stealer is the veteran Dharmendra, who retains the child-like quality and wins you over. <BR><BR>

Neha Sharma and Kristina Akheeva add to the glam quotient. Anupam Kher, Johny Lever and Sucheta Khanna try hard to contribute to some laugh-out-loud moments. Annu Kapoor is passable, but the English accent looks fake. <BR><BR>

On the whole, YAMLA PAGLA DEEWANA-2 rides on the star power of the Deols and of course, its brand. That may attract the spectators initially. But, eventually, it's the content that does the talking and in this case, the lackluster script plays a spoilsport!

Opposites attract! He's charismatic, gregarious and passionate with an indomitable spirit to explore places. She's the archetypical <i>seedhi-saadhi</i> girl, Plain Jane actually, an academician who's focused on attaining what she's zeroed for herself as a career. Add two more characters who cross their paths in this beautiful journey called life. Now place these four straight-out-of-life characters in a bottle, shake with a swizzle stick and presto, a love story is ready to be served.<BR><BR>

Come to think of it, Ayan Mukerji's second outing YEH JAWAANI HAI DEEWANI is akin to his accomplished directorial debut WAKE UP SID. Yet diverse! The characters in both, WAKE UP SID and YEH JAWAANI HAI DEEWANI, undergo a metamorphosis and transform into mature individuals with the passage of time. Life is a great teacher after all. At the same time, YEH JAWAANI HAI DEEWANI is dissimilar from films of its ilk -- and conventional love stories too -- because Ayan's characters never embark upon the run of the mill, mundane route to express feelings towards each other. <BR><BR>

Like all rom-coms, YEH JAWAANI HAI DEEWANI sparkles with romance, merriment and heartache, is brightly glossy and boasts of crackling chemistry between its lead actors, but Ayan makes sure the heady concoction never waters down. The best part is, he never borrows from romantic cliches that most love stories depend upon and that, in my opinion, is this film's biggest strength. Expect no unwanted melodrama, no unwelcome characters, no earsplitting background music to accentuate the proceedings... the best thing about YEH JAWAANI HAI DEEWANI is that it's refreshingly unique within the conventional Hindi film format. <BR><BR>

YEH JAWAANI HAI DEEWANI narrates the story of four characters -- Bunny [Ranbir Kapoor], Naina [Deepika Padukone], Aditi [Kalki Koechlin] and Avi [Aditya Roy Kapur] -- as they navigate through their youth... from their carefree laughter as they set off on a holiday together in their colleges days, until their bittersweet tears as they watch the first of their bunch get married. <BR><BR>

It's pretty evident that Ayan wants to offer that something extra beyond a love story. The conflict in this plot has nothing to do with parental pressures or social disagreements. The issue that the characters face is very real, extremely relevant and reflects the mindset of those living in a metropolis. But scratch the exterior -- beneath the fun quotient, the song and dance routine -- Ayan takes up some serious issues, albeit in a subtle way, that envelope the human emotions brilliantly. <BR><BR>

Ayan exhibits immense growth as a raconteur. His understanding of life, the characters, the road blocks they encounter, the resolution... radiates tremendous maturity. He nurtures his characters well, garnishing the narrative with episodes that have a lot of heart and which capture the energy and silence astoundingly. The message that Ayan attempts to convey is wonderfully real: There's more to life than conquering peaks and achieving targets. Sharing the precious moments with your loved one is what matters eventually. Although the film is targeted at youth, the film speaks a universal language and holds appeal for people of all age-groups. <BR><BR>

Although the narrative congregates vigor, melodrama and gloss dexterously, the only time it totters is when the pacing slows intermittently. Besides, the narrative is stretched towards the middle of the second half. Nevertheless, notwithstanding the trivial blemish, the writing manages to hit the high notes for most parts of the enterprise. Also, it never goes overboard with the drama. The strings tie up really well towards the resolution and the conclusion is sure to leave you buoyant, grinning from ear to ear. <BR><BR>

YEH JAWAANI HAI DEEWANI is embellished with a youthful and crazy score, with Pritam belting out popular, energetic numbers. 'Badtameez Dil', 'Balam Pichkari' and 'Ghagra' are high-on-energy tracks that have already hit the popularity charts. 'Kabira' oozes melody and has rich lyrical value. The choreography of 'Badtameez Dil' in particular is super, with Ranbir gyrating to the tunes with delight. Madhuri's presence in the 'Ghagra' track adds credence too. <BR><BR>

V. Manikandan's cinematography is pure art in motion. Every frame is simply spectacular, with the DoP capturing the varied colors and landscapes with brilliance. Dialogue [Hussain Dalal] are unusual, but fascinating and have a lot of clever hilarity entwined in them. <BR><BR>

The writing is enhanced by the performances! Ranbir is the show-stopper, the film's major muscle, the jewel in the crown, no two opinions on that. He is pitch-perfect, managing to be maddening, exasperating, childish and endearing in a flash. He captivates you with his gaze, his tone of voice, his chuckle and those itsy-bitsy gestures that make Bunny so so so lovable. Post COCKTAIL, Deepika nails her part yet again. The actress makes her character distinctive, blending grit, courage, compassion, sensuality and buoyancy with flourish. <BR><BR>

Aditya continues to climb the ladder. Post AASHIQUI 2, here's yet another act that gives ample evidence of his fine talent. Kalki infuses poise in her part, holding her own despite the film clearly belonging to Ranbir and Deepika. Farooq Shaikh, as Ranbir's father, is simply outstanding, more so towards the final stages of the film. Kunal Roy Kapur is competent, as always. <BR><BR>

Dolly Ahluwalia and Tanvi Azmi are perfect. Evelyn Sharma is charming. Navin Kaushik is good. Rana Daggubati sparkles in his cameo. <BR><BR>

On the whole, YEH JAWAANI HAI DEEWANI is a revitalizing take on romance and relationships. A wonderful cinematic experience, this one should strike a chord with not just the youth, but cineastes of all age-groups. Watch this celebration of love and get mesmerized!

All of a sudden, cars have caught the attention of film-makers this side of the Atlantic. Last year, FERRARI KI SAWAARI, more recently MERE DAD KI MARUTI and now HUM HAI RAAHI CAR KE have automobiles playing a significant part. Strangely, to me and to many others who recall that lovely Aamir - Juhi film, the title of HUM HAI RAAHI CAR KE brings back memories of HUM HAIN RAHI PYAR KE. Needless to add, the similarities end there!<BR><BR>

Veteran Jyotin Goel, who dabbled with an animation film in 2010 [BIRD IDOL], attempts a zany rom-com for the first time. The film is special for yet another reason... It marks Jyotin's son Dev's debut as an actor, besides starring Sanjay Dutt, who has featured in Jyotin's earlier ventures INAAM DUS HAZAAR, ZAHREELAY and SAFARI. <BR><BR>

HUM HAI RAAHI CAR KE has its moments, but, frankly, what could've been a comic saga with pulse-pounding adventure and thrills loses its sheen soon after a promising start... sorry, runs out of fuel would be more appropriate for this 'car'naama...<BR><BR>

HUM HAI RAAHI CAR KE narrates the story of two friends [Dev Goel and Adah Sharma], who embark on a road-trip from Mumbai to Pune on New Year's night. But the journey, which should've taken a couple of hours, ends up being an all-nighter, with bizarre events unfolding on the road and upsetting their plans of reaching the city. <BR><BR>

Like I stated earlier, the film starts off with gusto, it has a lot going for it since one can relate to the theme, but the barrel of laughs ought to be chock-a-block to sustain audience interest. In this case, the laughs become scarce and sparse after a point and though the makers and the on-screen characters do make a sincere attempt to make you grin or break into a guffaw, you don't! <BR><BR>

In addition, the sequences are stretched for no particular reason and the episodes that thwart the couple's plans of reaching Pune on time are so ludicrous that it's unbelievable. Right from the time the duo encounter a gorilla or goons on a secluded road to the tryst in the hospital to getting even with a politician's son and his cronies to saving the life of a scientist by cracking the password, the writing lacks the power to keep you glued. However, there are times when the sequences do bring a smile on your face [the second hour has its moments], but the outcome is way below the mark. <BR><BR>

The soundtrack has a variety of compositions, which you like as long as you are watching the film. <BR><BR>

Dev convinces you in a few sequences, but gets overenthusiastic and overzealous at times. Adah, who has proved her credentials in her earlier movies, handles her part well. Sanjay Dutt is just about okay, while Juhi Chawla is wonderful in the lone sequence. Chunky Pandey gets to portray multiple characters and he tries too hard to make you laugh. Anupam Kher is hardly there. Rati Agnihotri and Viveck Vaswani get limited scope. Amit Mistry hams. Samrat Mukerji is strictly okay. <BR><BR>

On the whole, HUM HAI RAAHI CAR KE is below par.

Romance is the most favored genre in Bollywood, but love stories have undergone a metamorphosis in the recent past. Films like EK MAIN AUR EKK TU, LOVE AAJ KAL, WAKE UP SID, LONDON PARIS NEW YORK and COCKTAIL have redefined romance in our movies. The anguish which germinates from heartbreak, the outburst of emotions when matters of the heart fail and making peace with oneself and the loved one eventually... the storytellers are in a mood to push the envelope further. <BR><BR>

ISHKQ IN PARIS is yet another addition to the new-age, urban setting love tale. The film is significant because, besides its theme, it marks Preity Zinta's tryst with film production, besides signaling her return to the big screen after a hiatus. Bearing an uncanny resemblance to the romantic fare BEFORE SUNRISE [Ethan Hawke, Julie Delpy], ISHKQ IN PARIS also brings back memories of LONDON PARIS NEW YORK, which released a year ago. Needless to say, ISHKQ IN PARIS is different from the above-named films in terms of story development and execution. <BR><BR>

When an entire film centers on first getting acquainted and then going separate ways, it puts enormous pressure on the storyteller to make every sequence vital. He/she needs to glisten relentlessly. Even accomplished writers/directors find it most demanding to portray a couple falling in love and drifting apart within a few hours of meeting each other... Prem Soni does have a tough task on his shoulders to depict the wobbly relationship between the protagonists. <BR><BR>

Prem borrows the attitude from BEFORE SUNRISE and BEFORE SUNSET films, but he makes sure he affixes those delicate touches that appeal to the Indian cineastes. Since the film is chatty in nature, there are times when weariness sets in and the lines seem contrived [the first hour is strictly okay!], but, eventually, this one springs a pleasant surprise! <BR><BR>

ISHKQ IN PARIS narrates the story of two strangers, Ishkq [Preity Zinta] and Aakash [Rhehan Malliek], who meet on a train from Rome to Paris and end up spending an evening in Paris. Sparks fly, the two share some wonderful moments before they go separate ways... only to meet again! <BR><BR>

What goes in favor of ISHKQ IN PARIS is the vibe and the chemistry between its lead actors. The love story has its moments, the humor is subtle and believable and the writers [Preity Zinta, Prem Soni] make sure they spike the narrative with energetic episodes and clever lines. There's an invigorating honesty in the way the couple discuss love and the twist in the pre-climax saunters in slickly. The build-up to the climax, coupled with the mature execution of the written material, keeps you hooked. <BR><BR>

On the flip side, the writing meanders from stimulating to wishy-washy. There are times when the film tries to be different from movies of its ilk, but doesn't really thrive. Sure, it begins with a bang, but it continues to taper as it moves forward. The director uses melodrama to depict anxiety and trauma, but the trouble is, haven't we watched it all in movies earlier? <BR><BR>

The DoP [Manush Nandan] endeavors for a certain look and feel and which he maintains all through. The stunning locales of Paris and Prague augment the visual impact. The soundtrack [Sajid-Wajid] is wholesome, with the composers coming up with tracks that capture the mood of the love story. 'It's All About Tonight' is racy, while 'Kudiye Di Kurti' is foot-tapping and the presence of Salman Khan acts as the icing on the cake. 'Saiyaan' is melodious to the core. <BR><BR>

It's difficult to take your eyes off Preity and Rhehan. Whether bickering or flirting with one another, the actors catch your eye in those tiny little moments that capture their charming chemistry well. What makes the performances work is that the characters are bona fide and credible. Preity is exquisite in every frame. Her eyes emanate genuine warmth and her performance is captivating. It's great to see this supremely talented actress back in top form! Rhehan too infuses energy into his role and compliments Preity at every level. He looks perfect for his part and carries his part with poise and composure. <BR><BR>

Isabelle Adjani is good enough in the few sequences she appears in. Sanjay Lafont doesn't get scope. Shekhar Kapur shines in the song-sequence. Chunky Pandey is up to the mark in a cameo. <BR><BR>

On the whole, ISHKQ IN PARIS is a decent fare, but its fate depends on word of mouth completely, for the film to carve a niche for itself. The delay in release [the promos had been on air for quite some time] coupled with lack of strong face-value might mar its prospects!

All of a sudden, cars have caught the attention of film-makers this side of the Atlantic. Last year, FERRARI KI SAWAARI, more recently MERE DAD KI MARUTI and now HUM HAI RAAHI CAR KE have automobiles playing a significant part. Strangely, to me and to many others who recall that lovely Aamir - Juhi film, the title of HUM HAI RAAHI CAR KE brings back memories of HUM HAIN RAHI PYAR KE. Needless to add, the similarities end there!<BR><BR>

Veteran Jyotin Goel, who dabbled with an animation film in 2010 [BIRD IDOL], attempts a zany rom-com for the first time. The film is special for yet another reason… It marks Jyotin's son Dev's debut as an actor, besides starring Sanjay Dutt, who has featured in Jyotin's earlier ventures INAAM DUS HAZAAR, ZAHREELAY and SAFARI. <BR><BR>

HUM HAI RAAHI CAR KE has its moments, but, frankly, what could've been a comic saga with pulse-pounding adventure and thrills loses its sheen soon after a promising start… sorry, runs out of fuel would be more appropriate for this 'car'naama…<BR><BR>

HUM HAI RAAHI CAR KE narrates the story of two friends [Dev Goel and Adah Sharma], who embark on a road-trip from Mumbai to Pune on New Year's night. But the journey, which should've taken a couple of hours, ends up being an all-nighter, with bizarre events unfolding on the road and upsetting their plans of reaching the city. <BR><BR>

Like I stated earlier, the film starts off with gusto, it has a lot going for it since one can relate to the theme, but the barrel of laughs ought to be chock-a-block to sustain audience interest. In this case, the laughs become scarce and sparse after a point and though the makers and the on-screen characters do make a sincere attempt to make you grin or break into a guffaw, you don't! <BR><BR>

In addition, the sequences are stretched for no particular reason and the episodes that thwart the couple's plans of reaching Pune on time are so ludicrous that it's unbelievable. Right from the time the duo encounter a gorilla or goons on a secluded road to the tryst in the hospital to getting even with a politician's son and his cronies to saving the life of a scientist by cracking the password, the writing lacks the power to keep you glued. However, there are times when the sequences do bring a smile on your face [the second hour has its moments], but the outcome is way below the mark. <BR><BR>

The soundtrack has a variety of compositions, which you like as long as you are watching the film. <BR><BR>

Dev convinces you in a few sequences, but gets overenthusiastic and overzealous at times. Adah, who has proved her credentials in her earlier movies, handles her part well. Sanjay Dutt is just about okay, while Juhi Chawla is wonderful in the lone sequence. Chunky Pandey gets to portray multiple characters and he tries too hard to make you laugh. Anupam Kher is hardly there. Rati Agnihotri and Viveck Vaswani get limited scope. Amit Mistry hams. Samrat Mukerji is strictly okay. <BR><BR>

On the whole, HUM HAI RAAHI CAR KE is below par.

Romance is the most favored genre in Bollywood, but love stories have undergone a metamorphosis in the recent past. Films like EK MAIN AUR EKK TU, LOVE AAJ KAL, WAKE UP SID, LONDON PARIS NEW YORK and COCKTAIL have redefined romance in our movies. The anguish which germinates from heartbreak, the outburst of emotions when matters of the heart fail and making peace with oneself and the loved one eventually… the storytellers are in a mood to push the envelope further. <BR><BR>

ISHKQ IN PARIS is yet another addition to the new-age, urban setting love tale. The film is significant because, besides its theme, it marks Preity Zinta's tryst with film production, besides signaling her return to the big screen after a hiatus. Bearing an uncanny resemblance to the romantic fare BEFORE SUNRISE [Ethan Hawke, Julie Delpy], ISHKQ IN PARIS also brings back memories of LONDON PARIS NEW YORK, which released a year ago. Needless to say, ISHKQ IN PARIS is different from the above-named films in terms of story development and execution. <BR><BR>

When an entire film centers on first getting acquainted and then going separate ways, it puts enormous pressure on the storyteller to make every sequence vital. He/she needs to glisten relentlessly. Even accomplished writers/directors find it most demanding to portray a couple falling in love and drifting apart within a few hours of meeting each other… Prem Soni does have a tough task on his shoulders to depict the wobbly relationship between the protagonists. <BR><BR>

Prem borrows the attitude from BEFORE SUNRISE and BEFORE SUNSET films, but he makes sure he affixes those delicate touches that appeal to the Indian cineastes. Since the film is chatty in nature, there are times when weariness sets in and the lines seem contrived [the first hour is strictly okay!], but, eventually, this one springs a pleasant surprise! <BR><BR>

ISHKQ IN PARIS narrates the story of two strangers, Ishkq [Preity Zinta] and Aakash [Rhehan Malliek], who meet on a train from Rome to Paris and end up spending an evening in Paris. Sparks fly, the two share some wonderful moments before they go separate ways… only to meet again! <BR><BR>

What goes in favor of ISHKQ IN PARIS is the vibe and the chemistry between its lead actors. The love story has its moments, the humor is subtle and believable and the writers [Preity Zinta, Prem Soni] make sure they spike the narrative with energetic episodes and clever lines. There's an invigorating honesty in the way the couple discuss love and the twist in the pre-climax saunters in slickly. The build-up to the climax, coupled with the mature execution of the written material, keeps you hooked. <BR><BR>

On the flip side, the writing meanders from stimulating to wishy-washy. There are times when the film tries to be different from movies of its ilk, but doesn't really thrive. Sure, it begins with a bang, but it continues to taper as it moves forward. The director uses melodrama to depict anxiety and trauma, but the trouble is, haven't we watched it all in movies earlier? <BR><BR>

The DoP [Manush Nandan] endeavors for a certain look and feel and which he maintains all through. The stunning locales of Paris and Prague augment the visual impact. The soundtrack [Sajid-Wajid] is wholesome, with the composers coming up with tracks that capture the mood of the love story. 'It's All About Tonight' is racy, while 'Kudiye Di Kurti' is foot-tapping and the presence of Salman Khan acts as the icing on the cake. 'Saiyaan' is melodious to the core. <BR><BR>

It's difficult to take your eyes off Preity and Rhehan. Whether bickering or flirting with one another, the actors catch your eye in those tiny little moments that capture their charming chemistry well. What makes the performances work is that the characters are bona fide and credible. Preity is exquisite in every frame. Her eyes emanate genuine warmth and her performance is captivating. It's great to see this supremely talented actress back in top form! Rhehan too infuses energy into his role and compliments Preity at every level. He looks perfect for his part and carries his part with poise and composure. <BR><BR>

Isabelle Adjani is good enough in the few sequences she appears in. Sanjay Lafont doesn't get scope. Shekhar Kapur shines in the song-sequence. Chunky Pandey is up to the mark in a cameo. <BR><BR>

On the whole, ISHKQ IN PARIS is a decent fare, but its fate depends on word of mouth completely, for the film to carve a niche for itself. The delay in release [the promos had been on air for quite some time] coupled with lack of strong face-value might mar its prospects!