Aao Wish Karein

Aao Wish Karein
EXPECTATIONS Since Aao Wish Karein gives the perception of a romantic entertainer; one does expect music to play a reasonably important role in the film. Also, since composers Ankur Tewari and Xulfi had come up with a couple of tracks worth humming in Ek Chalis Ki Last Local, one expects a certain quality from their soundtrack of Aao Wish Karein. MUSIC Beginning of Aao Wish Karein is surprising though with ‘Sabse Peeche Hum Khade’ kick starting the proceedings. This is the same song that Mohit Chauhan had sung and had featured in the film Let’s Enjoy. This time around it is Kunal Ganjawala who comes behind the mike for this melodious track that has an old world charm to it. Since the song has been heard over all these years, there is an instant recall value and it doesn’t take much time to hum this Ankur Tewari written and composed number all over again. Later, Kunal Ganjawala comes up with a much slower ‘reprise version’. Sunidhi Chauhan brings on the spunk with a livelier version titled ‘Sabse Peeche Kyon Khade’. Lyrics are different this time around and are told from the female protagonist’s point of view where she gets into a conversational mode with the guy. Xulfi begins ‘Reh Jaane Do’ with the trademark sound of guitar strings. A soft sounding pop track that has a sad connotation to it, ‘Reh Jaane Do’ moves at a very slow pace with focus on lyrics and rendition rather than any beats that could have otherwise diluted the overall impact. The song may not be the pick of the current season since it’s not the kind that could be sung around the streets. However, hear it in the context of the film’s narrative and it could make for a good background score. Also, after a promising beginning, its ‘antara’ doesn’t quite manage to hold one’s attention. In the similar mode comes ‘Tum Mere Ho’ which is a romantic duet by Kunal Ganjawala and Sunidhi Chauhan. By now, the mood of the album is pretty much established as each of the songs so far has followed the same theme without getting into any tangents. The focus is not on creating a chartbuster song that would rock the dance floors or be played on highways. Instead, emphasis is on coming up with the kind of soundtrack that goes well with the soft and simple mood of the film, an atmosphere that composers Ankur Tewari and Mikey Mccleary manage to create in ‘Tum Mere Ho’. Xulfi comes up with the best track of the album in the form of ‘Kuch Aisa’ (which comes in both the upbeat and ’sad version’). If there is a song that deserves to be heavily promoted as of this very moment, it is ‘Kuch Aisa’. Unfortunately, since there is a very small window between the music and the film release, it seems like quite a difficult task for this romantic melodious number to reach out to its target audience in a big way. It’s the kind of song that most film makers would have loved to incorporate in their films as Xulfi has done quite well in playing the triple role of singer, composer and lyricist (with Danish Khan). The last song of the album, ‘Sab Yahaan Hain’, though doesn’t quite lead to similar sentiments. Set as a celebration song in a 50’s mode, this Kunal Ganjawala sung track aims at getting into a carnival mode. However, it’s playing time would be relegated to the screen time that it gets on the big screen since it is a hardcore situational song. A number about the wish coming true for the lead protagonist in the film (played by Aftab Shivdasani), ‘Sab Yahaan Hain’ is written and composed by Ankur Tewari with Mikey Mccleary joining in. OVERALL As stated earlier, it is apparent that the makers of Aao Wish Karein didn’t quite have a chartbuster musical in mind when they came together to make music for the film. This is why the mood of the album remains situational for most part of it. Though none of the songs are bad per se, there isn’t a hit quality to them either that would make the album sell like hot cakes. Hear it for some soulful moments in ‘Kuch Aisa’ and ‘Sabse Peeche Hum Khade’. OUR PICK(S) ‘Kuch Aisa’, ‘Sabse Peeche Hum Khade’ [Play Songs]
Source: www.bollywoodhungama.com

Kurbaan
EXPECTATIONS There are good, though not huge expectations from the music of Kurbaan. Good, because there are names like Karan Johar, Saif Ali Khan and Kareena Kapoor associated with the film. Not huge, because the film doesn’t belong to a quintessential romantic genre in the true sense, something which could possibly lend a ’safe’ feel to the soundtrack. With the film having a background of terrorism to it, there is a certain restriction that happens to the commercial viability of the music. This is why composers Salim-Sulaiman and lyricist Prasoon Joshi had quite some task in hand when entrusted with the responsibility of creating soundtrack for Kurbaan. No wonder, one eagerly plays it on. MUSIC It’s a tremendous start to the album, what with Salim Merchant coming behind the mike to open ‘Shukran Allah’ in a manner similar to that of Kailash Kher crooning of ‘Subhan Allah’ [Fanaa]. Within seconds, Sonu Nigam takes over and you instantly know why he is simply the best that we have today when it comes to crooning melodious romantic tracks. His trademark silky voice is at play once again in this beautifully composed number which easily finds a place at the top of romantic numbers composed by Salim-Sulaiman. If the ‘mukhda’ is impressive then watch out for the ‘antara’ - it proves once again why Indian melody can never ever be out of vogue. Shreya Ghoshal joins the scene three and a half minutes into ‘Shukran Allah’ and makes an instant impact. This is one song that would be played for a long-long time and is easily one of the best that we have heard this year. It’s the sound of guitar that lends a modern day feel to ‘Dua Hai’. Though the English portion by Marianne D’Cruz has a distinct (and oft repeated sound by Salim-Sulaiman), it’s the coming together of Sukhwinder Singh and Kailash Kher which brings in a different dimension to ‘Dua Hai’. A fusion ‘qawalli’ that sees a mix of ’sufi’, ‘rock’ and ‘pop’ coming together, it’s the hook of ‘Dua Hai’ that keeps the ball rolling for song. While Kailash Kher brings in his own rustic touch to the track, it is usual energy that Sukhwinder Singh brings to the proceedings which make ‘Dua Hai’ special. Hear it for a couple of times and you would be hooked on for sure. Salim Merchant gifts himself an entire song as a singer in the form of ‘Ali Maula’. A situational track that should play as a part of the film’s background, it has the kind of lyrics that may not be comprehendible to the common man. However, in the context of the film, one can well imagine it to be making a huge impact. Rendering a pensive feel to the proceedings with the protagonist kneeling before God to lend enough courage for him to accomplish the impossible, ‘Ali Maula’ carries trademark Salim-Sulaiman sound. In addition, the ‘remix version’ is well done too and makes one hit for a couch in the lounge! Remember the impact that songs like ‘Naina’ and ‘Laakad’ had made after they were seen and heard in Omkara? Similar dark, haunting yet romantic touch is pretty apparent in ‘Rasiya’ which sees a fusion of Indian and Western classical music. Excellently crooned by Shruti Pathak who keeps her voice low for this sensual, romantic and poetic track, ‘Naina’ is yet another quality song by the young singer who has earlier rendered one of the best tracks ever by Salim and Sulaiman - ‘Mar Jaava’ [Fashion]. The composers certainly know how to pitch her voice and in what situation. No wonder, ‘Rasiya’ is pretty much a testimony to this fact. Soon after this slow moving number comes a highly energetic title song ‘Kurbaan Hua’ which proves once again that Vishal Dadlani is seriously taking his stint behind the mike. Singing quite regularly now for the compositions created by him along with Shekhar, Shankar-Ehsaan-Loy and also Salim-Sulaiman, Vishal rocks the show, literally, with ‘Kurbaan Hua’. This is a kind of number which evokes instant reactions and immediate appreciation. ‘Kurbaan Hua’ is a rock track that completely goes with the action packed theme of the film, hence making one look forward to it’s placement in the narrative. Other than ‘Shukran Allah’, this clearly is the pick of the lot in Kurbaan. OVERALL Kurbaan is a quality album all the way and clearly the best that Salim & Sulaiman have offered since Fashion. A difficult album to compose considering the kind of theme that the film comes with, Kurbaan boasts of the kind of sound that is consistent throughout. While quite a few tracks would be noticed more after the release of the film, there are songs like ‘Shukran Allah’ and ‘Kurbaan Hua’ that would make sure that Kurbaan makes a good head start at the music stands. OUR PICK(S) ‘Shukran Allah’, ‘Kurbaan Hua’, ‘Dua Hai’
Source: www.bollywoodhungama.com

Fruit & Nut
EXPECTATIONS Nil. Main reason being that the title by itself is such inconsequential and doesn’t give any hint whatsoever of what the film is all about. The same holds true for the music (composed by Sangeet Haldipur and Siddharth Haldipur with lyrics by Saajan Aggarwal) as well that has silently arrived on the stands. MUSIC ‘Heeriye’, ‘jaaniye’ and stuff alike is heard in ‘bhangra’ track ‘Bhangda Paale - Moovam 2 Da Groovam’ which as inconsequential as the title of the film. Seemingly created in one day flat with no novelty whatsoever, ‘Bhangda Paale’ is crooned by newcomer Neeti Muhan who does try to bring in some spunk into this heard-before track that doesn’t quite make you jump with joy and land on the dance floors. Composers Sangeet Haldipur and Siddharth Haldipur also come behind the mike but the song primarily belongs to Neeti. The ‘remix version’, which actually is quite an odd hear, also sees Mahua joining Neeti behind the mike. The title song comes next and the beginning is akin to the kind of portions that one hears as a part of Salim-Sulaiman background score. However, the moment Kailash Kher begins singing ‘Fruit & Nut - Chabaieley’, the entire arrangement of beats is completely out of synch. In fact one wonders if the composers (who also sing the chorus part) had even bothered to hear the final track since the utter lack of coordination between the voice and beats is simply so obvious. Even otherwise, the song doesn’t have any life outside the film’s narrative. The ‘remix version’ though is comparatively more energetic, courtesy an out and out Western treatment that it gets. Boman Irani’s introduction song, ‘Khabardar’, comes in next. Incidentally this jazz track has him as singer as well as gets into an Austin Powers mode with self parody taking centre stage. A song about a man who has high degree of confidence around him and knows that he has in him to take over the world, the song is completely situational. Also, considering the genre of the song that allowed Boman to be just himself without worrying too much about ’sur’ and lyrics, he does a fair job. In a movie supposed to be a comedy, it is surprising to see a slow, painful and a sad track coming up next. Titled ‘Andhera Hain’, this song crooned by Sangeet Haldipur, Mani Mahadevan and Siddharth Haldipur narrates the mental state of the lead protagonist who has been left alone and doesn’t have anywhere to go. Yet another hardcore situational track that doesn’t quite make you go and play the album all over again even as the song sees a ‘reprise version’ (a Sangeet Haldipur solo) for itself. OVERALL Fruit and Nut is a forgettable album that doesn’t have anything in it that would make you recommend friends to go and pick it up from the stores. Also the situational feel of the songs further restrict their shelf life. There is not even a single song that has in it to go an extra distance. OUR PICK(S) None
Source: www.bollywoodhungama.com


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Superman Returns

Superman Returns
Last summer, director Christopher Nolan reinvigorated the BATMAN legend with a character-driven thrill-ride chock full of surprises and endless invention, but the same can’t be said of Bryan Singer’s SUPERMAN RETURNS, which feels like a retread for much of its lethargic and bloated running-time. I can’t say this was a major disappointment since my expectations […]

Last summer, director Christopher Nolan reinvigorated the BATMAN legend with a character-driven thrill-ride chock full of surprises and endless invention, but the same can’t be said of Bryan Singer’s SUPERMAN RETURNS, which feels like a retread for much of its lethargic and bloated running-time. I can’t say this was a major disappointment since my expectations going in were modest at best, but this thing was sooo shockingly mundane; nothing in this movie stirs up much excitement or comes close to matching the awe and wonder Richard Donner’s film fashioned so exhuberantly.

With few exceptions, the casting is disastrous: Bosworth takes the plucky Lois Lane and imbues her with the sum energy derived from digesting a handful of sleeping pills; Spacey’s Luthor, while more faithful to the source material than previous screen versions, isn’t half as memorable as Gene Hackman’s playful take on the character, and Frank Langella is sooo lackluster a Perry White I’m not even sure he was awake when his scenes were shot. As for Routh, he improved as the film progressed, but he still looks more like Superboy (or, more precisely, RUSHMORE’s Max Fischer) than the Man of Steel. (His adolescent looks and awkward first attempts to mimic Christopher Reeve’s Clark Kent are painful to watch)

The missteps in casting could have been glossed over if the film delivered some truly jaw-dropping scenes of Super-derring-do, but there’s little suspense or excitement to the action set-pieces that seem regurgitated from previous films, and the special-effects — the one area it was reasonable to expect improvement in leaps and bounds — are competent but unambitious and not that big an upgrade from what Donner achieved in 1978. In fact, director Bryan Singer, who did such a fine job with the first two X-MEN films, seems so intent on capturing the style of the Donner classic that he leaves little of his own imprint on SUPERMAN RETURNS. SUPERMAN RETURNS most reminds me of Tim Burton’s “re-imagining” of PLANET OF THE APES; each had heaps of money lavished on them, but both are completely lifeless. And since when did Clark Kent wear glasses as a young boy??

Ultimately, this new SUPERMAN may appeal more to those who didn’t grow up with the Christopher Reeve movies, but at 2 1/2 hours, it may be too slow to become the smash Warner was hoping for; it certainly won’t rule the box-office for 13 consecutive weeks as the 1978 original did. In the end, it’s ironic the filmmakers chose to feature the song “Heart and Soul” when SUPERMAN RETURNS had neither.

Source: www.bestfilms.info

Pirates of the Caribbean - Dead Man?s Chest
Already breaking box-office records with each passing week, “Pirates of the Caribbean: Dead Man’s Chest” promises to be the top grossing film of 2006… and possibly of all time without question. Millions of people, eagerly waiting since the premier of the first installment, have generated $400+ million in sales for this movie thus far and […]

Already breaking box-office records with each passing week, “Pirates of the Caribbean: Dead Man’s Chest” promises to be the top grossing film of 2006… and possibly of all time without question. Millions of people, eagerly waiting since the premier of the first installment, have generated $400+ million in sales for this movie thus far and the numbers continue to grow. But sales… those are just numbers, at the end of the day, the true question is… How does this “Pirates” stack up to the first?

Although this movie was relatively well done, it pretty much is a two and a half hour teaser for part three, which is a bit disappointing. It really lacks the sarcasm and witty humor that made the first one such a great movie among all ages. The jokes and one liners in “Dead Man’s Chest” fall a bit short of funny, and by the end of the film are just lost in the epic that this movie tries to be. The plot seemed a bit dull (chasing a human squid around the seas, while trying to recover a beating heart in a chest), but it would have been ample if the movie would have just cut out the filler and kept the time around the two hour mark. It was obvious that the audience (in the two times I’ve been to theatres to see it) was growing quite restless and bored.

With that being said though, I should point out that Johnny Depp (Jack Sparrow) does, in fact, make it more than obvious that he carries this movie. His ability to take on a character in full and entice movie-goers all at once is astounding. He creates and refreshes a charcater that adults and children alike will find appealing, funny, and eccentric.

Overall, “Dead Man’s Chest” follows the makings of any sequel… lack of developed plot, quite the teaser, and overdone. But it’s still worth seeing… even if just to have more background for the upcoming Pirates III. Some scenes might be a little much for children, but it is a film that would be great for a family outting.

Source: www.bestfilms.info

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