Reelstories's Blog
A dream it's true, but I'd see it through…


Sajid Khan’s Housefull has nothing original, yet scores high on the entertainment factor. Confused? Well, let me explain. Take a bit of this and a bit of that, stir it well and garnish it; you make a fine concoction. As they say, it’s all about packaging and this time around Producer-writer Sajid Nadiadwala has done a seamless job of weaving a funny tale, Housefull, out of several situations you must have witnessed before. But credit goes to the director Sajid khan for making it work at least for the audiences, if not for the critics.

Housefull comes as a breath of fresh air after a series of below average films that released this season. After Heyy Babyy, this time too Sajid has handpicked Akshay and Ritesh who share a wonderful chemistry on screen. From the time the film starts rolling you know exactly what to expect. Housefull revolves around Aarush (Akshay Kumar), the unluckiest man, who works as a cooler (someone whose mere presence makes people lose money) at a casino in Macau. According to his birthchart, the jinx can break only when he finds true love. Thus begins Aarush’s quest to find his soulmate. With the help of his friend Bob (Ritesh) and his wife Hetal (Lara) he gets married to the daughter (Jiah Khan) of a wealthy businessman Kishore Samtani (Randhir Kapoor). But there’s a twist in the tale.

Enters Sandy (Deepika Padukone), who saves Aarush from drowning and falls in love with him. But here comes a twist in the form of Sandy’s brother, Major Krishna (Arjun Rampal) and Hetal’s (Lara Dutta) father, Batuk Patel (Boman Irani). What follows after that is a comedy of errors as we often find in Priyadarshan’s films. So, how Aarush and his buddy Bob (Riteish Deshmukh) come out of this mess, forms the crux ofthe film.

Like Heyy Babyy, Housefull sails smoothly as far as the plot is concerned. The best part of the film is that it doesn’t get into too much of hamming sequences and dwells more on situational comedy. Be it Akshay’s intro scene, Chunkey Pandey’s track in Italy or Boman mistaking Ritesh-Akki as gay couple (which by the way has an uncanny resemblance to KJo’s Kantabai track in Kabhi Alvida Naa Kehna) are genuinely funny.

Talking of drama, the scene between Akshay and Arjun are superb, especially the lie detector test, which is among the best sequences ofthe film. Akki’s honeymoon scene with Jiah Khan soon after the marriage is unforgettable.

Akshay underplays his part beautifully. Riteish is incredibly natural. Though the story primarily revolves around Akshay, Riteish stands shoulder to shoulder with Akshay in this one. Arjun Rampal is fantastic. Post Om Shanti Om and Rock On!!, Housefull is yet another film that cashes in on Arjun’s talent to the tee. And yes, you can also see him try a few dance steps as a bonus.

Deepika has improved a lot in the acting department. She carries her part with amazing confidence and again, post Love Aaj Kal and Karthik calling Karthik. Lara is a seasoned pro when it comes to comedies. She is as good as she was in Partner.

With S-E-L at the helm of affairs, the film boast of few catchy tracks. Must mention about Papa Jag Jayega which pays a tribute to Mithun’s popular dance step. Oh Girl You’re Mine is peppy.

The only drawback here is the screenplay. It hops from one scene to another and often forgets what’s been tackled before just a few minutes ago. The thread of continuity snaps at a number of places. For example the track of the child of Hetal and Aarush hangs as a loose end. Once the real mother of the child takes him away right in front of Hetal’s father, the writer hasn’t even bothered to explain how Hetal and Aarush should have handled the situation thereafter.

But then with a film like Housefull, it’s better if one keeps his/her thinking cap outside the theatre. Do not question the logic and you will enjoy it.

Rating: Good


This time I’m with Kangana baby. The actress is angry for all the right reasons. Well, who wouldn’t be if the ‘other girl’ is getting all the attention. Confused? Lemme explain. The other day I was at the beauty salon doing my French manicure when a little birdie dropped the bomb. I simply couldn’t believe my ears.

Apparently Kangana is so upset with the Roshans that she wants her name taken out of the main credit list of Kites (which also stars Hrithik Roshan and Barbara Mori) and put under the ‘special appearance’ category.

As it is Barbara has been hogging the limelight (splashing her itsy-bitsy clothes) ever since the film had gone on the floors.

And the Roshans’ have made no effort to even give her due weightage in the promos of Kites. So far Kangana has held her chin high and took it in her stride.

Well done Kangana for being such a sport.


Now, don’t get confused. This one is nothing like Ram Gopal Varma’s Vivek Oberoi-Antara Mali starrer Road or John Hillcoat’s The Road here.

Having wooed the audiences with films like Split Wide Open and English August, director Dev Benegal in his Road, Movie takes his viewers for yet another ride that one isn’t likely to forget in a long time.

Here we find a defiant Vishnu (Abhay Deol) setting off on a journey in his antique Chevy truck, desperately trying to escape becoming a salesman at his father’s hair oil company.

Little does Vishnu know that the old truck is actually an old touring cinemascope which used to be quite popular at one point in time.

As Vishnu progresses on the desert road he first comes across a young lad who works at a roadside tea shop. The boy requests Vishnu to give him a lift to which he agrees half-heartedly.

As luck would have it, the truck breaks down in the middle of the road and an irritated Vishnu blames the boy for the same. The boy leaves Vishnu in a huff, but returns the next day with an old mechanic (Satish Kaushik). The mechanic agrees to help only if he gets a lift to a nearby carnival. Vishnu picks him up for his own selfish reason.

The film uses the barren landscape to a great advantage. The virile rust and brown frames look picturesque. But the scorching heat soon poses a problem for the travellers as they face serious water crisis.

But the three wilted wanderers continue their excursion. This time around they encounter a gypsy lady (Tannishtha Chatterjee) in blue. She not only helps quench their thirst but also guides them towards a well from which they can fetch water. So far so good.

The four characters trapped in a queer game of love and hate blend into the scenario almost effortlessly. In Road, Movie the actors completely belong to the world that they inhabit. Their chance discovery of the magic of cinema and the way they use it to tame cops, goons and common folk alike are hilarious.

Abhay Deol with a constant frown on his face, except when he is with the gypsy woman, easily looks the part of an ‘angry young man.’

Mohammad Faizal as the young lad with a sharp tongue leaves you in splits with his naughty comments. Satish Kaushik as the elderly mechanic, who protects all at every step, impresses you with his performance.

Tannishtha Chatterjee as the beautiful gypsy woman perfectly complements Abhay on screen. The chemistry between them is quite searing.

The hair oil motif, which comes in handy to grease the old projectors as well as to fool the water mafia – who hoards water and sells it to the rich – reminds you of a similar situation in Split Wide Open. Though one may fight it unnecessary, the Gabbar spoof Benegal uses here forces a hearty laugh.

French cinematographer Michel Amathieu’s brilliant camera work makes it a visual delight.

The screenplay is good and the editing superb, which doubles the charm of watching this film. Dev Benegal scores full marks as a director to keep the film short and crisp, with the right dosage of thrill, humour, sarcasm and reality rolled into one.

VERDICT: A must watch.


When Roshni (Rituparna Sengupta) and Sudeep (Atul Kulkarni) arrive with their nine-year-old daughter, Shivani, at their ancestral home, little do they know what is in store for them. It is Shivani’s summer vacation and the threesome plans to spend a good time together. But things go terribly wrong from the moment they reach the place.

Sudeep and Roshni are at their wits’ end when they see their little child behaving abnormally. Spooky incidents keep happening as they realise their child is possessed. Sudeep and Roshni’s past haunts them. It so happened that Roshni became pregnant soon after marriage. But at that point both of them were more concerned about their respective careers and therefore got their child aborted. The act now threatens their daughter Shivani’s life.

Nothing really. The only good thing about the film is its star cast comprising Altul Kulkarni, Rituparna Sengupta and Anupam Kher. Atul and Anupam were at their usual best. Rituparna was just about okay. Audience expected a lot more after her powerpacked performance in Main Meri Patni Aur Woh. The actress should seriously try to improve on her accent and Hindi diction.

Since the film was being touted as one of the good films of the year, it was rather disappointing to see Gauri… coming nowhere close to Bhool Bhulaiyaa in terms of showcasing horror/supernatural. Director Aku Akbar should have done his homework before dealing with a genre like this. Although the film carries a social message, it misguides the audience into believing in certain forces in the name of horror. The child artiste almost looks like an animated character. The editing is shabby and so are the special effects. At times, the characters came across as caricatures that would make the audience burst into laughter, when they were actually meant to scare them. We wonder what enticed actors like Atul Kulkarni and Anupam Kher to sign on the project, which neither has a good script or scope for performance.

You can surely give it a miss.

Rating: 1/ 5


You know how it happens during the Oscars; cine fans are normally spoilt for choice. Expectations run high especially for ones that have bagged a nomination. But sorry to disappoint you guys, this aviation film by director Mira Nair (based on the book East To The Dawn-The Life of Amelia Earhart by Susan Butler) is shockingly unsatisfactory, dragging and plain.

Two-time Academy Award winner Hilary Swank plays Amelia in a role that’s seems too superficial and sketchy. But the actress surely looks her part with her hairstyle and leather jackets.

Amelia’s rise from a bubbling wannabe to national figure is compelling. It is interesting to note how promoter and publishing magnate George Putnam (Richard Gere) takes her under his wing.

For a biopic, filmmaker Mira Nair tries to get into details of her early life as how Amelia Earhart was one of the earliest examples of the marketable celebrity, how she used to sell everything from cigarettes to travel luggage et al. But sadly, we don’t really get to know much about her growing up in Kansas, her background and how she actually fell in love with flying.

There’s hardly any story development. Events follow without any rhyme or reason. For example, we suddenly find Putnam kissing Amelia, and then they’re married! Again, she’s having an affair with aeronautics executive Gene Vidal (Ewan McGregor) but her husband lures her away from him overnight and buys her an 80,000-dollar aircraft. The episodes don’t connect seamlessly and gives you a jolt at every step.

Richard Gere as Putnam acts like a pro, even when the script requires him to stare into blankness muttering dumb lines like “Home is wherever you are, Amelia.” By the final scenes, the couple has arrived at a mutual adoration, which at least feels real.

Amelia doesn’t score high on drama either. It seems fine when Earthart soars higher and higher in the sky but when she returns to earth, the plot seems like a soap opera.

Yet for the all-bland dialogues, cinematographer Stuart Dryburgh captures some brilliant shots making Amelia, at the very least, watchable.

For a woman who thinks sky is the limit, literally, one thing Amelia lacks is excitement.

The film strives hard to build suspense in its last 20 minutes, but sadly enough, it could not hold on for long, as the ending is predictable.

There’s a scene where a reporter questions Amelia if she’s a better celebrity than a pilot. We find a startled Amelia fumbling for an answer. And the question keeps on haunting till the end.

VERDICT: If you think it’s a film about challenge and woman power, you are seriously mistaken. We wonder what Amelia would have done if Putnam weren’t there for her, offering his heart and money. It somehow failed to move us.

Rating: 1.5/ 5


Director: Pedro Almodovar

Cast: Penelope Cruz, Lluis Homar, Blanca Portilla, Rossy de Palma, Kiti Manver, Chus Lampreave, Lola Duenas, Angela Molina

It’s a Pedro Almodovar-Penelope Cruz combo once again (after Volver and All about My Mother ) – this fact alone is enough to trigger off anyone’s curiosity. And having loved his previous films, I simply couldn’t miss this one. But sigh…

The film: The action oscillates between two time frames: flashing back and forth between the present day and the year1994. The story starts in present-day Madrid and focuses on a writer who lives in darkness. Fourteen years ago, he had had a brutal car crash on the island of Lanzarote and had lost his eyesight. And he had lost Lena (Penelope Cruz) too, the love of his life. This man for some strange reason had enjoyed his dual identity. One, that of Harry Caine, a pseudonym with which he used to sign his literary works, stories and scripts. While the other, Mateo Blanco (Lluís Homar), is his real name, with which he lived and signed the films he directed.

After the accident, Mateo Blanco reduces himself to his pseudonym, Harry Caine. If he can’t direct films he can only survive with the idea that Mateo Blanco died on Lanzarote with his beloved Lena.

All of this is cut through with flashbacks to Lena’s story, which begins in 1992 when she’s hoodwinked into marrying her wealthy stockbroker boss, Ernesto Martel – an interesting character played by José Luis Gómez, who comes across as both ruthless and vulnerable at the same time.

Broken Embraces is a four-way tale, shot in the American film noir style of the 1950s seamlessly blended with Almodovar’s signature themes – fate, guilt, power and the eternal search of fathers for sons, and sons for fathers.

It is Almodovar’s sound technical knowledge which saves the plot and the sub-plots from becoming confusing. But sadly, it makes it rather boring in the process. For example, we get to see a pile of torn-up photos; hidden secrets; scripts about man and a vampire’s love story and cameos by a host of Almodovar regulars that could have been easily done away with. Unfortunately, Broken Embraces doesn’t reverberate with strong and powerful emotions we relish in his All About My Mother or a Volver.

The best thing about the film is of course Penelope Cruz. No wonder Almodovar loves to cast his favourite girl every time. Penelope plays the small time actress Lena who makes her presence felt every time she appears on screen. It was worth a watch to see Lena posing for still shots in a Marilyn wig in a film within the film.

There’s another scene where Martel pushes Lena from behind and she tumbles down the staircase. Penelope’s change of expression from pain to bewilderment and to submission is superb. But we still miss the radiant energy in Woody Allen’s Vicky Cristina Barcelona that earned her a supporting-actress Oscar last year.

But for all its gloominess, it carries a note of optimistism as we see Harry continuing his work and embracing life with his mind’s eye.

From a visual perspective, Almodovar’s film meets expectations in every respect.

The problem lies in the presentation of the characters. You just can’t feel for them and the plot fails to hold you to your seats.

To some extent Almodovar wraps you up with his painstaking attention to details and structure in such a way that we feel impressed without being particularly moved.

VERDICT: Watch it for Cruz’s scenes alone. But considering that the narrative dwells on the editing of a film, we wish it could have turned out much better with some stricter editing.

RATING: 2.5/ 5


Director: Nora Ephron

Cast: Meryl Streep, Amy Adams, Stanley Tucci, and Chris Messina

The film:

The first thing that immediately draws your attention is the colour scheme and a smiling Meryl Streep saying Bon Appetit in front of a bistro in 1940’s France. The skillfully used tones evoke a feeling of warmth and happiness.

Directed by Nora Ephron, the comedy Julie & Julia is an adaptation of two best-selling books, one by a famous American cook and the other a blogger with a book deal.

Julia (Meryl Streep), wife of Paul Child (Stanley Tucci), an US Diplomat, is loved by all. Julie (Amy Adams), on the other hand, is a timid woman, who with the help of a famous chef she’s never met, blossoms into a determined, self-reliant woman.

Julie & Julia intertwines the lives of two women who, though separated by time and space, are both confused at some level…until they discover that with the right combination of passion, determination and butter (yes, you read it right), they can make everything right.

It dwells on relationships, writing and most interesting of all, the art of cooking. And it’s not just any kind of cooking, but taking on 524 recipes from Julia Child’s book, Mastering the Art of French Cooking in 365 days.

Meryl Streep and Amy Adams come together once again after the harder-hitting drama, Doubt.


Julie & Julia seems to have been tailor-made for Meryl Streep and the singular strength in Julie & Julia rests with the performances. Streep is at her brilliant, beguiling best. She’s the real ‘mistress of spices’ (pun intended) who knows exactly how to toss up a lip-smacking platter.

Streep and Adams never share a moment on screen, but yet they connect at some level.

The men in the film look happy playing second fiddles, having smaller roles and less screen-time, but their performances are praiseworthy. Messina as a supportive husband with no story of his own pulls it off perfectly. While Tucci is probably a character one would remember for a very long time. Like Julia, any woman would fall in love with him.

Memorable scenes:

The film has some touching moments too. The way Julie struggles with Julia’s recipes, striving to reproduce the stuffed duck, bouillabaisse, and beef bourguignon without immediate success, is amazing.

The portions where it focuses on Julia Child and her husband Paul (Stanley Tucci) in Paris (in late 40s and 50s) are warm and colourful. Also when Paul is seen being investigated for having communist ties and quizzed if he was gay pulls on your heartstrings.

Things that tend to take away the charm:

If one compares the two, Julia Child’s storyline is more fun to watch than Julie Powell’s, primarily because of the brilliant Streep-Tucci combo. Meryl Streep may not look much like Julia Child in real life, but she throws herself into the role wholeheartedly, even re-creating the famous TV show.

The film’s length doesn’t help either with little over two hours. It could have done well with tighter editing, knocking off a good 15 minutes from the Julia Powell story.

What suddenly sparked the conflict between Julie and her husband seems synthetic, and the setting of the last meal from the book – on a rooftop came a little out of nowhere.

Julia Child’s story seems to end on a satisfactory note, but Powell’s ending fails to impress.


What makes the film ‘different’ is the fact that the women in it are not in desperate pursuit of men. Marriage certainly plays an important role in their lives, but watching two strong women drive a story is a great experience.

I’d give 2.5 for the film and 1 for Streep and Tucci’s awesome chemistry.

RATING: 3.5 / 5


You have seen him in many critically acclaimed films such as Lage Raho Munnabhai, Metro, Quick Gun Murugun and so on. In Fashion Ashwin Mushran played Rohit, Priyanka Chopra’s best friend. But every time you watch him on screen, he reminds you of a certain Hollywood star. Any guess?

Ashwin Mushran

Meet Ashwin Mushran. Ashwin started out with tv commercials which led to him becoming a cast member of the cult Indian TV show, The Great Indian Comedy Show. From there he moved on to acting in feature films. Ashwin is also heavily involved with theatre and is a voice over artiste as well.

Now sample this picture…

Stanley Tucci

Surprised? This is Stanley Tucci, who played Nigel in the screen adaption of The Devil Wears Prada also starring Meryl Streep, Emily Blunt and Anne Hathaway.

Ashwin, yet again

Ashwin is also an adept exponent of salsa and has contributed in a big way to its popularity in Mumbai.

In 2009, Tucci again starred opposite Meryl Streep in Julie & Julia playing husband Paul Child to her Julia Child. Also in 2009, Tucci portrayed the murderer of a young girl in The Lovely Bones. Both the films got Oscar nominations.

Tucci in Julia & Julia

As Paul Child, Tucci’s character in Julie & Julia would be remembered for a very long time. Like Julia, any woman would fall in love with him.


Tannishtha Chatterjee is surely making waves. Having won several hearts at the Toronto Film Festival, she will soon be flying to Tokyo and Berlin with her Road, Movie that is set to hit the screens soon. Closer home, Tannishtha has just completed shooting yet another international project. Shot in four parts, the Indian story will feature her in the lead. And guess what? The film has been directed by Lucy Liu of Kill Bill fame. Tannishta tells all…

What is Road, Movie all about?

As the title suggests, it’s a road film. Vishnu (Abhay Deol) is a simple guy. It is his journey – coming of age, growing up and discovering freedom. Vishnu finds an old truck, which he sees as his ticket to freedom. As he sets off across the harsh desert terrains, he discovers he’s not merely transporting a battered vehicle but an old touring cinema. Along the way, Vishnu picks up a young runaway (Mohammed Faizal Usmani), a wandering old entertainer (Satish Kaushik) and a striking gypsy woman played by me. Then something happens…

What was your initial reaction after hearing the narration the film? Tell us a bit about your character in Road, Movie?

I read the script and immediately fell for it. I play a gypsy woman in the film who appears from nowhere and then again disappears into thin air. I am a wanderer myself having travelled all over the globe. So I could relate to the character. Besides, I knew Dev (Benegal) would put together a good team. Then there was Studio 18 behind it. All I had to do was to sign on the dotted line, which I did.

You have worked with Satish Kaushik in Brick lane… Tell us the experience of working with him again?

Working with Satish ji has always been fun. He is a great actor. We had a great time shooting for the film.

Tell us once special thing about Abhay Deol that you noticed while shooting together?

Okay. Besides acting, he can paint too. You see it was a bunch of creative people coming together. Abhay was perfect for the role of Vishnu. He works a lot. You could see his character come alive in the process.

How has Dev Benegal been as a taskmaster?

Dev is a great director to work with. He’s very clear in his thought process. Frankly speaking, I wanted to work with him ever since I watched English August. He has a quirky sense of humour, which people don’t get at times. When he has something nice to say that means he’s really angry and when he has something nasty to tell, he’s really happy. I think it was his humour that kept all of us going when we were shooting in the sweltering heat of Jaisalmer.

The truck plays a significant role in Road, Movie. So, who do you romance with – Abhay or the truck?

LOL. Oh yes, I get to romance Abhay on screen.

What according to you makes Road, Movie special?

So many factors… It’s Dev Benegal’s vision, his direction, his style and his script that render a distinct flavour to the film. The music is amazing. The USP of the film is the film itself and its execution. It’s beautifully shot. It is Indian at heart but international in attitude and personality. It looks as authentic as it could be in terms of the lighting, colour, tone, sound specification, artwork etc. What more can you ask for?

What’s been your biggest take-away from the Road, Movie experience?

It was a great experience overall. I made some great friends. I hope it does well because it’s not a run-of-the-mill Bollywood film. It is a feel-good comedy, poetic and subtle in its humour, beautifully shot and surreal. The film works in different layers and that’s why, it’s not just a Bollywood film but also a kind that everyone will appreciate. We have got rave reviews from whoever watched it at the Toronto Film Fest. We had three screenings there and all were house-fulls. So, now I am confident. We will be promoting the film in Tokyo and Berlin as well.

Would you like to mention about your next project after this?

There is no denying the fact, now that I have already shot the film. It is a Lucy Liu project. The film is in four parts and I’ll be seen in one of these, that tells an Indian story. All these stories are built on true incidents based on a book called Half The Sky. I play the character of a girl called Meena. The story dwells on human trafficking. How Meena fights all odds and comes out victorious is what we get to see in the film. The best part is all the stories revolve around women who strive to bring about a difference in their lives and others around them. All the four parts will be directed by women filmmakers. And in this case I must say, Lucy is a spirited director.


Aap ka ishq ishq hai aur mera ishq sex” – Arshad Warsi’s outburst seems to bring forth the essence of the entire story in one single line.

The film has multiple layers of emotions displayed at various levels and it takes a while to get a grip on the plot. Ishqiya starts with Krishna (Vidya Balan) in bed, clad in a bright red sari. For a fleeting moment she reminds us of Kareena Kapoor in Omkara.

Next we meet her husband, a small time goon, who is on the run from law. Krishna is madly in love with him and pesters him to ‘surrender’. And before you could bat an eyelid – BOOM! There’s an explosion, of course.

Cut to the next scene. In some other part of the country, Babban (Arshad Warsi) and Khalujaan (Naseeruddin Shah) are seen enjoying a drinking and dancing. Their enjoyment is short-lived as Khalujaan’s mooh bola Jija ji tracks them down to extract the heist money from them. The duo somehow manages to fool him and run away with the booty and eventually land up at Krishna’s residence in Gorakhpur. They introduce themselves as her husband’s old friends and request Krishna to offer them shelter. Krishna obliges.

So far the story flows in a linear pattern as Babban and Khalujaan plan to cross the border to Nepal, while Krishna seems busy with her dairy business, domestic chores and singing. However, things don’t look as simple.

While Khalu, hailing from a family with music background falls for Krishna’s singing talent, and it seems for a while, Krishna too falls for him. And she doesn’t even try to hide her feelings. Meanwhile, the booty that Babban and Khalu fled away with disappears mysteriously.

We get enough hints to understand Krishna is not as docile as she pretends to be. The situation changes all of a sudden when Babban who has been lusting after Krishna for quite a while, snatches her from Khalu after a much-publicised smooch sequence. When the tables turn, things have already moved too far. A kidnap plan is hatched to raise money to pay off the creditors; events unravel in an unexpected manner and we are confronted with yet another twist in the tale.

It won’t be fair to unnecessarily compare Ishqiya with Omkara. As a first timer, Abhishek Chaubey’s direction is a welcome change. Though we find him losing his grip once in a while, Abhishek’s choice of the subject and handling of the same makes it a worth watch. The change of events during the kidnap drama and the heated argument that follows thereafter are fascinating. Even the passionate lovemaking sequence between Arshad and Vidya has been dexterously captured. The saucy lingo spit out by Babban and Khalu may make you feel uncomfortable, but it only makes the characters look more real.

Vishal Bhardwaj’s musical score has his unmistakable stamp all over. The songs, Ibn-e-Batuta and Dil To Bachcha Hai Ji are obviously the best picks of the album. One may be surprised to note the tune of Dil To Bachcha Hai Ji has an uncanny resemblance to Raj Kapoor’s Jeena Yahan, Marna Yahan from Mera Naam Joker.

Every actor in Ishqiya delivers a commendable performance. Vidya steals the show once again after Paa with her role as a scheming woman, two-timing the uncle and nephew without flinching once. Naseeruddin Shah is superb. Arshad packs in a great stint with his little bit of madness and crazy actions. Even the kid, who sticks around with Arshad, is natural.

VERDICT: High on drama and wild at times, you are bound to fall in love with Khalujaan and Babban.

3.5/ 5