Watch Online Movies

My rating: destroy every copy – horrible – bad – whatever – flawed but enjoyable - shitastic - good – great – amazing

I feel that after this film I need to add one more word into my rating – SHITASTIC. Because that is the only way how to describe how awesome and awful Dhoom 3 is (maybe I should call it „awesful“?). I thought the first movie of the franchise decent, the second absolutely horrendous. And this one just bloody ridiculous. But given I had my brain boiled by intense studying and was in a desperate need of letting everything just go for a moment, I ended up enjoying this first class trash to the fullest.

First of all, I made a mistake listing the cast above. The correct order should be: Aamir Khan, Aamir Khan, supported by Aamir Khan, a bike, Aamir Khan, and some extras. What makes it a part of Dhoom franchise is not Jai and Ali, a duo of idiotic cops, but bikes doing mad shit and story so questionable you cannot take any bit of it seriously. It is not a masala film in that slightly rustic 80s style (that needs to die a quick death for the sake of humanity), it looks way more polished, almost slick, almost like a good movie. But then of course bikes ride on ropes and rickshaws break through numerous brick walls, and American police calls for help two of the most incompetent Indian cops who have screwed up every big case in the past. And by the time the big twist comes you have guessed already, but Jai Dixit has not.

Unlike previous Dhoom, which was just totally random, Aamir – as Sahir AND Samar, is given a backstory. All the silliness that happens has a certain motivation, which at least gives it a frame, that kinda holds it all together. There is no shit (am using this word often in this review, am I not?) love story that would make you roll your eyes and wish the lovers dead already. On the other hand it is all about robbing a bank and yet not once you see the bank robbed (huh?), but the makers try to make up for it with ENDLESS bike/car chases that always end up with Aamir´s magical bike pulling off some magic trick. The circus showed in the prologue (which interestingly feels like something from the 20s instead of the year 1990) provides just really secondary magic tricks (no wonder the bank was not impressed), the new circus Aamir launches seems to have ONE show number that goes on every night and forever.

Aamir Khan has a constipated expression as Sahir and his act as Samar is actually painful. The film entirely belong to him still, even if his bulging muscles make him move rather uncomfortably. Abhishek Bachchan sports a frowned brow and grim stare all the time, it is obvious the makers had no idea what to do with him. Any random cop could have provoke the exact same things from Sahir and the character of Jai is really no longer required. As for Uday Chopra, he is in because everybody needs a sidekick they can pester and Jai ain´t no different. 

Katrina Kaif has about 20 minutes in the film (that already includes 3 songs). She fits the role. She is quite cute and no acting histrionics are required anyway. Dhoom girl is about sex appeal, good looks and glamour, all of which she provides generously, and for the first time ever I truly appreciated her dancing. She was REALLY good, and only few bits of choreography made her look awkward. Most importnatly her character does not refer to herself in third person (Sunehri was really pissing me off with this in Dhoom 2. Like who the hell does that?) It felt good to see Jackie Shroff in his cameo, he was reliable as always, although his character was one whacko of a „loving“ father.

Songs blend in well with the film – the best one by far is Malang. All that money they put into picturization definitely paid of. The number is SPECTACULAR and must have been amazing to experience on big screen. On the other hand Aamir Khan should apologize for that tap dance in the beginning. Camera work is beautiful, and the only technical aspect that was not up to mark were special effects. The amount of cars crashed and flying through the air must have made Rohit Shetty green with envy.

Dhoom 3 is definitely the best of the horrible franchise. It is awful but extremely entertaining. So bad it´s good. All glamour, no substance or logic. And apparently every criminal prefers to throw themselves off the cliff rather than be arrested by Jai Dixit.

My rating: destroy every copy – horrible – bad – whatever – flawed but enjoyable - good – great – amazing

A curious, intriguing movie this is. Amazingly non-glamorous, yet not hyping on any dirt. Lasts little under 2 hours and yet stays with you for quite a while after. Clever and with a twist that you never could expect, but not venturing into an impossible scenario area. As both a sum of its parts and the final product 3 Deewarein is, I feel, severely underrated.

The notorious „bad man“ of Bollywood Gulshan Grover is here a „good man“, leaving aside his comic antics and theatrical villainous acting, trying to run a prison, where the prisoners are treated with humanity and everything is done to support their reformation. But some cases, apparently are beyond help. Three walls are a prison to three death convincts, each distinctly different from one another, but sharing the same lot. And the story serves as a probe to test their mentality and behavior face to face with death punishment and lengthy waiting for it. Nagya (played by director himself), keep believing his innocence would eventually be proved. Ishaan (excellent, excellent Naseeruddin Shah, stealing the show away and being incredibly charming even as a killer) is a sly-operator keeping his cool and plotting his escape. And finally Jaggu (Jackie Shroff) decides to be absolutely stoic, waiting for death as if she was his lover, whom he would welcome with some of his plentiful, melancholic poetry (which he recites so soulfully in his deep sexy voice that everything in me just couldn´t help but to be a Jackie Shroff-fangirl).

The makers did an excellent job in presenting the reality of life in jail and daily routine of the prisoners. When with the characters, you feel indeed enclosed in the same small world they are allowed to exist in, cut off from the world. There is nothing filmi about this prison, neither there is a Hitler-like jailor (waving at you, Sholay) and do not expect a happy song about how awesome it is to be imprisoned (avoid a movie called „Army“ at all cost). Within this atmosphere, both calm and full of anticipation, depending on which of the three condemned prisoners is pulling the story forward, the excellent performances by the actors make an intriguing tapestry of emotions and actions.

The medium through which the plot function though, is Juhi Chawla in a role of a documentary filmmaker. Simply clad, with simple talks, she is not what she appears to be to the world. These days expression „women empowerment“ is being thrown around right left and center, and it is unfair to forget that there have been character in the past that indeed reached the empowerment – Juhi in 3 Deewarein is one of them, as she plays an abused wife who not only decides to satisfy her need for being creative, she manages to win over her husband all by herself too. And meanwhile she is also an avenger. And a rescuer. Her performance is brilliant (and for me personally her best, most intense), her presence among the mournful and pessimist prisoners like a fresh wind. And her despair in scenes showing her personal life nothing less than deeply disturbing.

The movie does not have any songs, but the background score and a lonely, touching melody of a flute, which sounds throughout the prison in the nights, are beautiful. Editing in some of the scenes flawless. There is a bit too much English for my taste, which is one of the minor possible complaints. If you are looking for a really good film, try this one for sure.

They called it VEER but I shall forever remember it as WEIRD. But to be honest I don´t thing a proper adjective to describe how awful it is has been invented so far so let me just tell you this: Veer is one of those films that need to be burnt and its ashes then scattered in the deepest space so nobody can ever watch them again. Every mention of it should be erased and those who has seen it should be brainwashed until they don´t remember. Back in the 90s the filmmakers may have already seen that Salman Khan´s film ideas make only a huge mess, and yet not twenty years have passed and they decided to create a movie based on his idea again. Hopefully for the last time ever.

The story is basically dealing the Pindaris (who they really were I had to look up on the net) and one huge betrayal by aging but still having „it“ Jackie Shroff. The betrayed one however was none other than Mithun Chakraborthy, and after cutting off Jackie´s arm, he fled with the rest of his people and raised two sons – Veer (Salman) and another one (played by Sohail Khan). He then sends these sons to England to „absorb“ British cunning ways so they can use that against the English rule and also against Jackie, who is ruling like a Raja in one of the Indian provinces..... 

The time frame of the film is utterly confusing. We are told that Veer was born in early 1870s , so if he is supposed to be 25 in the film, it is taking place somewhere before the year 1900. I can assure you though, that at that time there was no Czechoslovakia (indeed mentioned), there were no black women in British universities, pineapples were not sold in the streets of London, ladies were not wearing such awful dresses and men would actually take off their hats before dancing at a grand royal ball. Nobody is really concerned about minor inaccuracies in films, but Veer is nothing but a shameless history rape.

While in this really strange out-of-time caricature of the British capital, Veer falls in love with an Indian princess studying abroad. Zarine Khan, who essayed the role, is one of those misfortunes brought upon Bollywood audience by Salman. Her face has a striking likeness to Katrina Kaif and they both share the same stoned face, seemingly unable to move no matter what their character is supposed to feel. She doesn´t suit Salman as a pairing and again her outfits in the movie were anything by accurate (historically and geographically). The bad choice and presentation of the heroine kills of the romantic part of the film.

The patriotic part of the film is unforgivably boring. The script and twist are not at all exciting (though curiously still a bit better than the utter snooze-fest called Mangal Pandey, where it was Aamir Khan trying to convince his countrymen it would be a good idea to kick the British out of India), the action quite ridiculous because of all the unrealistic effects that are supposed to make Salman look like war God defying the very basics of physics, but are not cool as a part of what aspired to be a historic megafilm. Mithun and Jackie easily steal the show whenever they are in the frame, even their roles are not that bad, but they are not given a proper storyline of their own, that would utilize their talents (especially not Jackie). 

Veer really is weird. The London part is the worst, with an obligatory scene with a super racist white teacher insulting his students so Salman can have another patriotic speech, and with streets full of young white women who look so happy and positive you start thinking if they are on drugs. And thus I have to warn you – think twice before you let the bleeding Salman with an axe in his hand ride onto your TV screen. Unless you´re in a mood for one of the most unintentionally hilarious films ever.

A fine film about first loves not meant to be and how it´s difficult to realize a marriage can be full of love unspoken. Triangular love stories were, are and always will be in demand and Dahleez follows the suit, with the difference that the loser in this is not forced to die a valiant death and there is nobody fourth found to pacify him.

Meenakshi Sheshadri, who remains unjustly and painfully forgotten by 90% of Bollywood viewers today, is Naini, a beautiful girl catching an eye of Shekar and another of her friends (Jackie Shroff and Dalip Tahil being rather ridiculous trying to pass off as students) and ultimately choosing Shekar. Few songs later the two depart and plan to meet, but due to unexpected issue Shekar cannot make it. He unwisely sends his friend to explain this to Naini, but instead she is told by this rejected and jealous suitor Shekar is not interested in her anymore. Without examining the matter Naini feels insulted and retreats from Shekar´s life completely, leaving him confused and heartbroken.

The 80s hold the greatest number of films that are just bad when it comes to Bollywood and it is not completely unjustified to label them the „dark times“ of Hindi film industry, yet Dahleez is one of those movies that could work very well had it not been for over-grown students (Jackie and Dalip at the beggining), some crappy dialogues, not quite engaging action sequences and not good enough development of Shekar´s character. It still has things to offer – like some melodious songs (though none gives us the chance to see Meenakshi´s unquestionable dancing genius), solid performance by Meenakshi Sheshadri and Raj Babbar at his watchable best.