Posts tagged Lilette Dubey
We all have tried to hook up two of our friends or at least someone has tried to hook us with someone, which most of the times fails miserably. But still there’s a matchmaker in most of us and this is especially to be seen in a marriage-centric country like India. Hence, Aisha reeks of a strong relatable factor and the makers and writers had won half of the battle by choosing a script like this one. Besides, they got some supremely fresh and talented actors on board and added some beautiful music too. With so many plusses in its favour, Aisha works but unfortunately only in parts. The treatment needed a mature touch which debutant director Rajshree Ojha failed to do so. A great chance lost!
The story of the movie: Aisha (Sonam Kapor) is an upmarket Delhi girl whose favourite pastime is matchmaking among her friends and relatives. Arjun (Abhay Deol), her childhood friend who has just returned from New York, detests this trait of Aisha. Aisha comes across Shefali (Amrita Puri), a small town girl, who’s in Delhi to marry. Her matchmaking side tells her that Shefali and one of her friend, Randhir (Cyrus Sahukar) can be a cute couple and she sets on a mission to hook them. She even involves Pinky (Ira Dubey), her friend since kindergarten, in her mission. Aisha loves when things go as she has planned. Hence, what would happen when she realizes that all her matchmaking plans are going for a toss? Watch the film to find out!
Aisha begins wonderfully, making you expect a lot as the film progresses. The introduction of all characters, which was done in the opening sequence itself, was cute and sets the mood for this chick flick. The story hardly moves in the first half and the only significant thing that happens here is the 7 important characters get to know each other. And also, the scene of Randhir minutes before the intermission (his proposal to Aisha at night and confession to Pinky next morning). However as the 2nd half unfolds, one realizes that the first hour was so much better! The problem is that when the writer so beautifully built up the plot in a fresh manner in the beginning reels, why did it switch to the track beaten to death so many times before in the later part? The emotional scenes tend to drag. Also, the 2nd half was where the makers were trying to go the Jaane Tu way but couldn’t do so. Moreover few developments in the story at this point seem to go over the head. Shefali telling Aisha that Arjun too likes her…what was that?!
However, the film gets back on track with the scene where Aisha shares halwa with her father at night and the scene next, where she gives a beautiful speech but to the wrong audience and wrong venue! However, the last scene (Arjun’s confession) was too filmy and although it was cute, it doesn’t work.
The film belongs to the female brigade who rocks the show! Sonam, of course, leads and this is easily her best work! This was a dream role for any actress in male-centric in Bollywood and she makes use of good use of the opportunity. Whatever kind of expression she emotes—angry, happy, sad, excited, crying—she does it in an extremely cute manner! As for her costumes, she has worn various types of clothes throughout the film and she looks a princess in each one of them! The film might not work but Aisha will surely be remembered for a long time as Sonam’s finest performance!
Ira Dubey looks and sounds very much like her mother, the talented Lilette Dubey! Performance wise, she was topnotch. With her role of Pinky, she proves that one can look superhot by wearing spectacles too! Amrita Puri gives an impactful performance. Watch out for her brilliant performance in the confrontational scene with Sonam!
As for the guys, Abhay Deol as usual gives a terrific performance. Although Sonam is the leading character here, Abhay too has an important part and does it well. Cyrus Sahukar was hardly there in the 2nd half but shines in the first hour, especially in Rishikesh sequence. Arunodhay Singh (Dhruv) does a fine job but looks horrible in his new haircut! Lisa Haydon (Aarti) didn’t much to do. Anand Tiwari, who rocked in Udaan and Kites does an equally good job here. M K Raina as Sonam’s dad leaves a mark only in the end scene. Anoordha Patel (Sonam’s masi) was good. The rest do a fine job.
Amit Trivedi’s music is soulful and easily one of his best works after Dev D, Wake Up Sid and Udaan. The best songs are the title track, By The Way, Gal Mitthi Mitthi, Shaam and Leherein. He even composed the background score which suited the film’s theme.
Maximum appreciation should go to hair stylist (Ity Aggarwal), make up artist (Namrata Soni) and Costume Designers (Pernia Qureshi, Kunal Rawal)! The girls and the film seemed glamorous and fresh thanks to them! Diego Rodriguez’ cinematography was flawless.
The film is adopted from Emma, a novel by Jane Austen. Adapting a 19th century novel into the present-day Delhi scenario wasn’t easy task and credit should go to screenwriter Devika Bhagat. However she could have done a better job towards the finale. Also the dialogues (Devika, Ritu Bhatia, Manurishi Chaddha) were very smart and witty.
Rajshree Ojha shows promise towards the beginning but her direction loses sheen during the later part. Overall, an okay debut and expecting her to do a better job in her next!
Some of the best scenes:
1. The introduction of characters
2. Shefali’s transformation from ‘behenji’ to ‘babe’
3. Aisha leaves Randhir and Shefali in the highway guest house
4. Dhruv repairs Aisha’s car
5. The entire Rishikesh sequence
6. Shefali destroying Randhir’s memoirs
7. Pinky and Shefali’s confrontation with Aisha
8. Aisha confesses about Arjun to her dad
9. Aisha’s speech in the marriage
On the whole, Aisha is strictly okay. It boasts of a great concept which could have turned into a brilliant film but the improper execution prevents that from happening. A must watch only for fashionistas and fans of Sonam!
My rating-** ½ out of 5!
BOMBAY TIMES (August 5, 2010)
Ira Dubey is all set to make her Bollywood debut with Anil Kapoor’s Aisha. However, the world of showbiz isn’t new to Ira, who’s the younger daughter of actress Lillete Dubey. Ira has been performing on stage since the age of six and has studied theatre and been a film critic on the filmbased show Chicks on Flicks. She says, “Films haven’t been on my agenda till now. I had acted in The President is Coming, but that was like a dress rehearsal. Aisha is a different, but fantastic new ball game and I am looking forward to pursuing a career in Hindi cinema with total focus now!”
Ira feels today, actors of every kind are getting a chance to make a mark in Bollywood. Armed with “hopefully, even half of my mother’s talent”, the actress senses that even though the mirch masala will never go out, realism and freshness are the order of the day. Ira plays Pinky Bose — Aisha’s best friend — in the movie that releases this Friday. The actress insists she’s tried to make this over-the-top, comical, character a bit different. “Pinky’s got a Punjabi gregariousness and zest for life, plus an outrageously flamboyant dress sense. I decided to give her spectacles, a dry, sarcastic sense of humour and a Bengali-esque sharp intellect, so she’s got a bit of both sides,” she says.
Ira is eager to begin her Bollywood innings. “I’m making sure I don’t get typecast and stuck in a mould! I’m extremely excited and eager to try everything. For now, I want to move away from roles that are just glamourous. I want to work with directors like Vishal Bhardwaj, Sudhir Mishra, Imtiaz Ali, Ayan Mukerji and Dibakar Banerjee, Zoya Akhtar and Karan Johar. And I want people to see that I can play a village belle, a glamourous character, the romantic heroine or a quirky fashionista with equal ease,” she says.
Sajid Khan does it again! His debut directorial venture, Heyy Babyy, keeping aside all its flaws, was still a brilliant entertainer. And now, Sajid’s second offing, Housefull, too succeeds in giving the viewers the much needed entertainment! The film is silly and illogical at places but then who cares as long as it tickles our funny bones and leaves a smile on our faces? Get ready to commence your movie watching season with this hilarious flick!
The story of the movie: Aarush (Akshay Kumar) is the unluckiest guy of the universe! Wherever he goes, bad luck follows and it affects people around as well. Thus, when Aarush goes to stay at his friend Bob’s (Riteish Deshmukh) house, he and his wife Hetal (Lara Dutta) get jinxed too. He realizes that Devika (Jiah Khan), daughter of the wealthy man Kishore Samtani (Randhir Kapoor) can be his true love and hopefully will bring luck to him. He gets married to her but falls in love with Sandy (Deepika Padukone)! To add to the chaos, Sandy’s bro Major Krishna Rao aka Anna (Arjun Rampal) and Hetal’s dad Batuk Patel (Boman Irani) enter the scene. Aarush, who hates to lie, has to create mountains of lies so that everything can go on smoothly.
Housefull jumps from level to level in the first half. It begins wonderfully (Akshay’s entry is just awesome!) but then falls in some of the later scenes. But then the film picks up dramatically as soon as the action shifts to Italy. The entire Italy sequence was wonderfully written and even better executed. The twist in Jiah Khan-Akshay’s track surfaces unexpectedly and works well. The Akki-Deepika romance and the misunderstandings that crop up were damn impressive. And how can I forget, Chunkey Pandey entertains like hell during this entire sequence! More about it later!
The intermission point was gripping and you expect fireworks in the second hour. Thankfully, all expectations are fulfilled when the film turns into a howlarious ride in the 2nd half. There are such funny and creatively thought scenes in this hour that it literally brings the house down! Man, I was laughing so much after sooo many days!
The film has some loose ends but they are so nicely compensated by the director that frankly you won’t complain. The lie-detector sequence was technically totally wrong. But it is so nicely executed that the scene turns out to be one of the best! Also, Akshay’s decision to suddenly reveal the truth seemed a little forced. But the scene that follows (laughing gas sequence) is so brilliant (and funnnny) that again there would be no reason to grieve!
Talking about performances, everyone does one of the best jobs of their respective careers! Akshay Kumar plays the part of the loser perfectly! I marvel at this actor-he has worked in so many comic capers and yet, in each of his film, he comes up with a performance that is unique and different from the rest. In Housefull too, he does a brilliant act and succeeds in entertaining to the core! Great going Akki!
Riteish Deshmukh wasn’t at his best but still registers a strong impact. He does a fabulous job in the beginning scenes where he gets maximum footage. Deepika Padukone like everytime looks lovely and gives a topnotch performance. Here’s an actor who never disappoints! Lara Dutta contributes very well to the goings-on. She deserves to be seen in more films! Arjun Rampal was outstanding! One of the chief reasons why I was excited for Housefull was because of him! I have loved him since his early days and I was looking forward to watch him do a comic act. Thankfully, he doesn’t disappoint and does a fabulous job (who says he can’t act?)! And we’ll get to see him once again in power-packed role in Raajneeti just a month later! Keep rocking dude!
Jiah Khan doesn’t have much to do in the film but still impresses a lot. Why doesn’t a great actor like her get enough roles? Randhir Kapoor returns to the silver screen after a hiatus and does a fine job! Boman Irani as usual was terrific. Chunkey Pandey was the surprise of the film! He’s mostly loud and irritating but here he entertains a lot! Watch out for him! It was a pleasure to see Lilette Dubey after a long time. Malaika Arora Khan and Jacqueline Fernandez were alright. Vindoo Dara Singh surprisingly gives a nice performance!
Shankar-Ehsaan-Loy comes up with excellent music. All songs were well composed but Oh Girl You’re Mine impresses the most while Loser shall linger in your mind for a long time! Vikas Sivaraman’s cinematography was pleasant and a treat for the eyes! Sandeep Chowtha’s background score support the goings-on well.
Sajid Nadiadwala, the producer, also wrote the story of the film. Anvita Dutt Guptan’s dialogues were witty and quite hilarious. Screenplay (Sajid Khan, Milap Zaveri, Vibha Singh) was effective. Some of the sequences and scenes were unintentionally similar to those of past successful comic films like Atithi Tum Kab Jaoge, All The Best, No Entry and Kal Ho Naa Ho. But still the film manages to be ‘original’ and that’s where it succeeds!
Finally, Sajid Khan yet again proves that he’s a fine director. Although he could have done a better job in some of the beginning sequences, he still should be appreciated for coming up with such a solid entertainer. What I like the most about him is that he’s here to entertain. Both his films were well made full-on entertainers and he would surely be making such films in future too! Take a bow Sajid!
Some of the best scenes:
1. Akshay’s entry
2. Aarush unexpectedly turns up at Bob’s place in the night
3. The entire Italy sequence
4. The intermission point
5. Batuk Patel arrives in London
6. Anna arrives at Aarush’s place
7. Anna’s bag exchange
8. The lie detector sequence
9. The climax
On the whole, Housefull is a brilliant entertainer that has some of the most rib-tickling funny moments. It is illogical and crazy at places but what matters is that it ‘entertains’ in true sense! Housefull is thus the best way to begin the movie watching season! Just go and book your tickets before the show gets ‘House Full’!
My rating-**** out of 5!
By Taran Adarsh, April 30, 2010 – 12:50 IST
At the very start of the film, Sajid Khan pays his respects to several notable names of the 1970s and 1980s, who redefined Hindi commercial cinema. And that gives you ample idea of what to expect from HOUSEFULL, which, very frankly, stresses on wholesome entertainment like those wonderful entertainers made by Manmohan Desai, Prakash Mehra, Feroz Khan, Hrishikesh Mukherjee, K. Raghavendra Rao, Narendra Bedi, Ravi Tandon and Brij. No wonder, films made by these icons have tremendous recall value even today.
The two things you expect from HOUSEFULL are non-stop laughter and non-stop entertainment. That’s because the promos of the film have already given you an inkling of what to expect from this film. Besides, Sajid Khan swears by wholesome entertainers, so it’s only natural to expect HOUSEFULL to bring the house down.
|BY BOLLYWOOD HUNGAMA.COM|
We loved Manmohan Desai and Prakash Mehra’s movies because they transported us to a world of make believe, into a fantasy world, keeping us thoroughly entertained for those 3 hours. Obviously, we never questioned the logic then because we knew that entertainment was the keyword. HOUSEFULL takes the same route.
HOUSEFULL entertains majorly at places, but it’s an uneven ride. Uneven, because the pace dips at several places. It’s not a rip-roaring laugh-riot or a non-stop laughathon that one expects it would be, since the focus is on emotions and drama as well. Even the climax, I am sure, will meet with diverse reactions. It will have its share of advocates and adversaries.
Final word? The actors are top notch and so are their performances. Wish the script would’ve been equally super. Yet, despite the hiccups, HOUSEFULL should be lapped by moviegoers in a big way because the audience is starved for that solid entertainer with big stars for more than two months now.
HOUSEFULL narrates the story of Aarush [Akshay Kumar], the world’s unluckiest man. Being jinxed, he believes his bad luck can vanish if he finds true love. In this quest for true love, he gets married to the daughter [Jiah Khan] of a wealthy businessman Kishore Samtani [Randhir Kapoor]. But there’s a twist in the tale…
Enter Sandy [Deepika Padukone], who falls in love with Aarush. But complications follow thereafter as Sandy’s brother, Major Krishna Rao [Arjun Rampal] and Hetal’s [Lara Dutta] father, Batuk Patel [Boman Irani] enter the scene. How Aarush and his buddy Bob [Riteish Deshmukh] come out of this mess forms the crux of the film.
Like HEYY BABYY, HOUSEFULL has a story to tell as well. It’s not merely an assemblage of funny sequences or a mere montage of comic scenes. But some of the funny sequences are sure to make you flex your facial muscles wide. Note Akshay’s intro, or the sequence involving the vacuum cleaner, or Akshay getting a pet home, or the entire Chunkey Pandey track in Italy. Simply howlarious!
Sajid balances the dramatic moments well. The Jiah Khan sequence soon after the marriage is very interesting and so are the sequences in the second hour, when Arjun and also Boman land up at the mansion. The comedy of errors is truly funny at times and also the gay angle, which has been injected in this half. It may not be as memorable as the Kantaben track in KAL HO NAA HO, but is funny nonetheless. Talking of dramatic sequences, the ones between Akshay and Arjun are fantastic, especially the lie detector test, which is amongst the best sequences of the film.
Director Sajid Khan knows his fundas right. He packs just about everything to entertain you for the next two hours, but the screenplay could’ve been tighter. While the pacing is slow in the first hour, it’s the second half which has a lot to offer. Overall, Sajid jumps into the big league of film-makers who make films for the masses and successfully at that!
Shankar-Ehsaan-Loy’s music is pleasant. Vikas Sivaraman’s cinematography is top notch. The locales of Italy are mind-boggling.
Every actor in this film takes the film to the next level. Akshay underplays his part beautifully. All those who felt that the actor tends to get loud or needs to be controlled will change their opinion with this film. He’s the soul of HOUSEFULL. Riteish is incredibly natural. I’ve often felt that Riteish is one actor who doesn’t give you an impression that he’s ‘acting’. 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 taps Arjun’s talent to the maximum.
Deepika is a surprise. She carries her part with amazing confidence and again, post OM SHANTI OM and LOVE AAJKAL, HOUSEFULL is the film that would make people notice her talent as well as beauty. Lara is a seasoned player when it comes to comedies and she’s too good yet again. Her scenes with Riteish in particular and also with Boman are first-rate. Jiah is a revelation. Although she doesn’t get much scope, she manages to register an impact nonetheless.
Randhir Kapoor is very good. Boman Irani is excellent and is amongst the driving force of the second hour. Chunkey Pandey is sure to bring the house down. He is exceptional. Lilette Dubey is competent, as always. Malaika Arora Khan is alright.
On the whole, HOUSEFULL is not a complete laugh-riot, but is an entertainer all the way, targeted at the hardcore masses. What really works for the film is its massive star cast, gripping second half and also the skilled performances by each and every member of its cast. The audience is starved for a good commercial entertainer and HOUSEFULL should bring HOUSEFULL boards back outside cineplexes.
By Taran Adarsh, April 2, 2010 – 10:52 IST
A lot of bizarre experiments are being made in the name of art house/experimental cinema. Precious raw stock, precious time and precious resources are being utilised to create movies which are so weird that only its creator would know what he’s actually trying to say. PANKH is one of those films, which, frankly, makes no sense.
Let’s give the credit where it’s due. The premise – of a young boy being cast in girl’s roles in movies – is interesting, but the screenplay and direction [Sudipto Chattopadhyay] are so abstract that I was actually wondering, how could a reputed film-maker like Sanjay Gupta and celebrated actor Bipasha Basu green-light this project? Or, let me put it this way, what did they see in the script of this film?
|BY BOLLYWOOD HUNGAMA.COM
Frankly, PANKH made no sense to me and at the end of the screening, I only felt sorry for myself since I wasted two precious hours of my life on something that wasn’t worth it.
Baby Kusum was a child star. But Kusum was actually a boy, working as a girl in movies. Born as Jerry. Christened Master Jai for the movies. Rechristened Baby Kusum to play a girl. Mary and Jerry, the mother and son, are caught in a turbulent relationship.
Nothing works in PANKH. The protagonist is besotted by a stunning looking actress and even fantasises about her, so why this hullabaloo about his sexual identity? And pray, what is Bipasha doing in so many avtaars? Did she walk on the set straight out of a fashion show?
Talking of performances, Maradona Rebello tries hard to look convincing. Bipasha suffers due to poor characterisation. Mahesh Manjrekar hams to the hilt. Ronit Roy is lifeless. Lilette Dubey is hysterical. Daya Shanker Pandey is quite good. Amit Purohit needs to polish his acting skills. Sanjeeda Sheikh is convincing. Asha Sachdev gets the role right.
On the whole, PANKH has nothing to offer!
By Subhash K. Jha, March 31, 2010 – 15:03 IST
While the fate of the kissing scene between Rahul Bose and Arjun Mathur in Onir’s film Omar hangs in balance, Bengali filmmaker Sudipto Chattopadhyaya’s gay kiss in Pankh featuring Maradona Rebello and Amit Purohit has been passed by the censors, untouched.
This would be the first time Hindi audiences will see two men kissing on screen. Madhur Bhandarkar had earlier deleted a male kiss featuring Samir Soni before submitting his film Fashion to the censors.
Not only that, a sequence where Maradona Rebello goes fully naked before his screen-mother Lilette Dubey has also been passed by the lately-liberalized censor board, albeit with the 19-year old actor’s butt blurred.
The director Sudipto Chattopadhyaya has no quibble with Vinayak Azad Regional Officer of the censor board.
Says Sudipto emphatically, “In fact Vinayak Azad has been very supportive. Its individual members of the jury who raised questions about the language and content. Some words from the dialogues had to be beeped out. One lady in Burqa behaved as though the moral health of the nation would be destroyed by the deeds of my characters. Such hypocrisy has to stop.”
Director Sudipto Chattopadhyaya is extremely miffed at the lurid bent given to Pankh. “The so-called male kissing sequence is actually a molestation scene. The young shocked disgusted hero Maradona is force-kissed by a drunken friend who assumes Maradona is gay. The sequence is not titillating or erotic but filled with Maradona’s revulsion. But because the kiss came to light after Article 377 was repealed it was conveniently misconstrued.”
The nude sequence will qualify as the boldest ever in an Indian film. It comes at a time when the boy-hero must prove to his domineering mother that he is, after all, a man.
Says the director, “I’ve never spoken about this sequence before because the content is bound to be projected out of context. It’s actually the climactic moment when the hero Jerry (Maradona Rebello) can no longer bear with his mother’s taunts about his manhood. Jerry takes off his trousers to show his mother that he has a d…k like any man. It’s shocking moment. We shot Maradona from the back. But he was fully nude in front of Lilette Dubey.”
The censorial boldness notwithstanding one wonders how Indian audiences would react to a film that subverts the traditional mother-child relationship and takes it kicking and screaming into the zone of sexual politics.
Phoonk is not flawless, but still it deserves the highest praise. A film with no known star cast and made on a budget of just Rs. 3 crores manages to attract audiences and achieve the ‘Hit’ status-a very big achievement, considering the fact that nowadays even multi-starrers and films starring superstars fail miserably. I had missed this film in theatres. 2 months back, I won its VCD after I participated in an online survey! And now that I am free, I finally saw this film last week. As mentioned earlier, the film has some minuses but overall, it manages to entertain, thrill and scare a bit too!
The story of the movie: Rajiv (Sudeep) is a rich and successful construction engineer, living in a posh duplex house in Mumbai. He has a lovely wife Aarti (Amruta Khanvilkar), adorable children, Raksha (Ahsaas Channa) and Rohan (Shrey Bawa) and a god-fearing mother (Jyothi Subhash). Rajiv is an atheist and doesn’t believe even in the existence of God or evil forces. But one day, his daughter Raksha gets falls into the trap of demonic forces and this compels Rajiv to get out of his beliefs and take necessary action against it. But how would Rajiv do it? And who is behind these evil acts? Watch Phoonk to find out!
Many may not like Phoonk but one can’t deny the fact that the film engrosses the viewer right from the first scene and keeps everyone glued to the screen till the end. The film doesn’t send the chill down the spine but there are ample thrilling moments in the film which makes it interesting. The intro scenes, when the titles roll, set the mood. Rajiv’s outburst at the party and the villains making their evil plan were too good. But Raksha being possessed by evil powers takes the film to a high (especially the school scene-fantastic!).
What doesn’t work is that Phoonk doesn’t scare at all. The film was publicized as a total horror film and many expected it to be scarier than RGV’s Bhoot. And due to these high expectations, many were disappointed with the film. What also bewilders is that how come Rajiv became an atheist, when his mother was a staunch believer in God? No light was thrown on Rajiv’s past regarding this. And the climax could have been shot better.
The best performance in the film is undoubtedly given by Ahsaas Channa! The girl, who has always acted as boy before (‘she’ was seen as ‘he’ in Vaastu Shastra, Kabhi Alvida Naa Kehna etc!) does an extraordinary job. It was a very difficult task in her hands but she came out with flying colours. And it’s really shocking to see that her performance was never considered during awards. When preparing a list of best child artistes of 2008, everyone remembered only Aman Siddiqui (Bhoothnath), Purav Bhandare (Tahaan), Dwij Yadav (Heroes) and Manjit Singh (‘Oye Lucky! Lucky Oye!’). Not a single award even nominated her for any award. Very unfortunate!
Sudeep was rocking and a powerful performer. He’ll be seen next in RGV’s forthcoming Rann as Amitabh Bachchan’s son. Amruta Khanvilkar also delivers a fantastic performance. Lileete Dubey as Dr Seema was excellent and it was great to see her after a long time! Ashwini Kaleskar shines in her over-the-top performance! K K Raina looked every inch a doctor. Zakir Hussain and Jyothi Subhash surprise with their powerful performance. Ganesh Yadav lent able support. Others were good.
A ‘horror’ flick of Ram Gopal Verma is bound to have flawless cinematography and background score. Sure enough, background score (Amar Mohile) was perfect, providing the thrills at the precise scary moments. Savita Singh’s cinematography was raw and unusual and does total justice to the setting in the film. But she falters in the climax.
Milnd Gadagkar wrote the story and screenplay of the film which without a shred of doubt fantastic! Kudos to him for writing a plot based on superstition and tantra-mantra stuff (how many times has it been attempted before?)! Screenplay is top notch and the magical Ram Gopal Verma touches helps to make things better. They could have done a better job in the climax but nevertheless, a great effort by the entire team!
Some of the best scenes:
1. The intro scene
2. Madhu (Ashwini Kalsekar) at Rajiv’s house
3. The party scene
4. Raksha suddenly goes missing
5. Bones and lemon found at Rajiv’s place!
6. Raksha at the school (marvelous scene!)
7. The docs treating Raksha at home
8. Murtaza (Zakir Hussain) at Rajiv’s home
On the whole, Phoonk is a nice timepass entertainer. It is definitely not horrifying as it was promoted and has some flaws too. But still, it works and can easily be seen once on a lazy Sunday afternoon!
My rating-*** ½ out of 5!
This post first appeared on MouthShut.com:http://www.mouthshut.com/review/Phoonk-167504-1.html