Synopsis

Ashfaque (Ajay Devgan) is a small town boy who dreams of becoming a Bollywood star. He joins a street theatre group run by a reformed dacoit Sidhu (Pankaj Kapur) but Ashfaque finds it difficult to give a creative edge to the actor in him.

Determined to make his dream come true, Ashfaque's struggle finally pays off when he gets a break in Hindi films.

Now known by his new screen name, Sameer Khan, this lad starts to get better roles with time. In no time, Sameer Khan becomes the superstar.

But amidst all the adulation and applause, he slowly loses his own identity as he forgets his real self.

He takes on the characteristics of the various roles he has played on screen. It is not long before corruption takes over his entire system as he gets alienated from his close ones including his wife Sneha (Vidya Balan).

A shocking incident at a party changes everything, rocking Sameer Khan's lifestyle.

He gets caught between his human self on one side and his corrupted superstar image on the other.

Will the conflict within him gives way to good sense? Will he is able to discard his corrupted image and emerge as a true life hero? Halla Bol has the answers.

Halla Bol (meaning attack) is directed by Raj Kumar Santoshi of the Khakee and The Legend of Bhagat Singh fame.

Source : Santabanta.com

Few days back we saw Sajid Khan casting huge celebrities in song Heyy Babyy and now his sister surpasses him by casting 31 stars in one song. Amazing work by Farah Khan..It seems gone are the days when item number songs were used in movies.

Nikhat Kazmi,TNN

EASY to label this one as Metro, part two. But Mumbai Salsa has a freshness and an innovative feel that makes it watchable despite the fact that it follows Metro's tale of sizing up the cosmosexual lifestyle in New Age yuppie India. Here again you have the cosmopolitan highs (Mahaburger size money, masti and maza ) balanced against the urban lows (achy infidelity, heartbreak and akelapan ). And the narrative style follows a similar pattern too, as it plays peeping Tom into the lives of four different couples. But the similarities end there. For Mumbai Salsa's moral dilemmas and gender benders unfold in a deliciously irreverent manner, a fine blend of the serious and the comic.

The film tries to hold a mirror on almost everything modern: mutating moral values, one night stands, a bit on the side, lesbianism, teen abortions, male chauvinism versus newage feminism...Yet, it never gets into sloganeering.

Eight successful young Mumbaikars, living in the fast lane, meet up in a Mumbai bar called Mumbai Salsa and end up trying to make a life with each other. Of course, almost all the relations begin on a flippant note, mostly as 'one night sits', as protagonist Vir Das insists. Sometimes, they even begin with derision, as in the case of Subbu who carries his tradition Tamilian mindset to the Mumbai corporate world and looks at the girl from the West as suspect, bad wife material. But stereotypes are gently broken and love blossoms through hiccups and hindrances, never losing humour as the sub- text.

Scriptwriter Manoj Tyagi ( Page 3, Corporate, Apharan ) picks up vignettes from real life and makes an impressive debut as a director too. And helping him in creating this eclectic mix are his band of fresh new performers (watch out for Vir Das trying a Woody Allen) who live their roles on screen. Get your fill on the Bar, Barista, Boardroom, Bedroom brigade.

Source : timesofindia.indiatimes.com

Download Links 1

01. Dus [05:56]
02. Jaaniye [05:11]
03. Aaja Soniye [04:32]
04. Nach Le Soniye [04:03]
05. O Maahiya [04:45]
06. Mushkil Kushaa [06:00]
07. Vichodeya Ne [04:15]
08. Kaala Peela [05:28]
9. Bin Tum [05:01]
10. Bhula Diya [04:47]

Downloads Links 2

01. Tere Utaare Due Din... [02:36]
02. Der Aayad [02:35]
03.Khudkushi [02:55]
04.Khaali Samandar [02:51]
05.Chaal Chalo Tum [02:21]
06. Raat Tamir Karein [02:43]
07. Bauchaar [02:39]
08. Talaq [02:51]
9. Hatak [02:36]
10. Muje Talash Nahi... [02:18]
11. Khuda [03:03]

After having watched NO SMOKING, the first thing you want to do is ask Anurag Kashyap, the director of this misadventure: Now what was that? Cinema is all about three Es - enlighten, educate and entertain. But NO SMOKING neither educates, nor enlightens. As for entertainment, forget it!

You try so hard to understand what NO SMOKING tries to say, but the film is like one big puzzle that refuses to get solved.

What ails NO SMOKING, did you ask. Simple, it's the most complicated cinematic experience of 2007. Agreed, the director's intentions are noble. Cigarette smoking is injurious to health and Kashyap wants to highlight this message loud and clear via his new movie. But what has Kashyap come up with?

NO SMOKING leaves you exasperated and disgusted. Exasperated, because till the end credits roll, you just don't know what happened in those 2 hours. Disgusted, because Kashyap had solid backers [Eros, Kumar Mangat, Vishal Bhardwaj] and a competent cast [John, Ayesha, Paresh Rawal] at his disposal. Yet, he couldn't pull it off.

In short, NO SMOKING is a terrible waste of a terrific opportunity!

K [John Abraham] is a stubborn and obnoxious guy, who does exactly what he wants. A chain smoker, he feels nothing can come between him and his cigarette - not his wife [Ayesha Takia], his friend [Ranvir Shorey] or his life. Till he encounters Baba Bengali [Paresh Rawal].

Baba Bengali has his own set of draconian laws to stop people from smoking. He guarantees results, provided his clients obey his orders to the T. But K revolts and pays a heavy price for it.

The only aspect that stands out in NO SMOKING is its cinematography [Rajeev Ravi]. It's a good-looking film with some stylishly executed scenes. But Kashyap, who is an accomplished writer himself, ought to know by now that moviegoers want to watch a good story at the end of the day. The lighting, the sepia effect, the visual effects, the production design- everything is secondary. Honestly, it's difficult to believe that the director of BLACK FRIDAY could conceive NO SMOKING.

There're hardly any songs in the narrative, but the one filmed on Jesse Randhawa ['Jab Bhi Cigarette Peeta Hoon'] is imaginatively filmed. Surprisingly, the popular Bipasha Basu track, which has also been publicized extensively, is placed after the end titles.

John makes a sincere attempt to leave a mark and succeeds to an extent. Really, one wonders, what prompted John to instantly approve this bizarre story! Ayesha runs through her role mechanically. The supremely talented Ranvir Shorey is a big bore this time. Paresh Rawal is okay.

On the whole, NO SMOKING fails miserably. Very disappointing!

Source & Courtesy : IndiaFM

By Taran Adarsh,

Frankly, the story of Jab We Met isn't new. It has traces of the Abhishek - Ash starrer DHAAI AKSHAR PREM KE [2000; which, in turn, was inspired by A WALK IN THE CLOUDS] and Govinda - Urmila starrer KUNWARA [2000; which, in turn, was a remake of a Telugu film BHAVANAGARU BHAGUNNARA], but director Imtiaz Ali's execution of the subject takes it to another level altogether.

Also, for any love story to work wonders, it ought to have the germs to make the viewer jump with joy and participate in the goings-on. And the principal characters here -- Shahid and Kareena -- are so real, so natural, so believable and so winsome that the viewer gets absorbed into their world as minutes pass by.

To sum up, JAB WE MET is as refreshing as an ice-cold watermelon juice in scorching heat. Imtiaz Ali's expert storytelling coupled with Shahid and Kareena's sparkling performances make this film a must-watch!

Aditya [Shahid Kapur], an industrialist, is heartbroken as the girl he loves is getting married to someone else. Unable to muster up the courage to return home, he drifts out of the gathering and aimlessly boards a train, bounding away into the night.

As destiny would have it, he meets Geet [Kareena Kapoor] -- a beautiful but annoyingly talkative girl who is leaving Mumbai to go her hometown -- Bhatinda. Later, she has plans of eloping with her boyfriend [Tarun Arora].

Geet irritates Aditya to the point of getting him to leave the train. As she tries to get him back on the train, she ends up missing it and the two find themselves stranded on a desolate station with no luggage or money.

Begins the idyllic journey through the exuberant North Indian heartland in which this odd couple make their way through buses and taxis and camel-carts to reach her house in Punjab.

On arrival, Geet's family mistakes the two for lovers. Before this misconception can be cleared, Geet escapes to her boyfriend in Manali. Aditya leaves with her, confirming the suspicion that they are lovers. In Manali, Aditya feels empowered to return to Mumbai and resurrect his ailing business.

Life takes a positive turn and Aditya begins to do well. One day, Geet's family, who think that she is with him, confronts Aditya. He is shocked to learn that Geet has not returned home. He takes it upon himself to find her.

He finally tracks her down in a Himalayan town and begins another journey to reach Bhatinda and flow into the colors and conceptions of a loud and happy North Indian family. How their separate journeys become one, forms the remainder of the story.

Opposites attract -- that's the essence of this love story. The journey of two individuals who cross each other's path one night and develop a deep bond is skilfully and convincingly depicted at the very outset.

The highpoint of JAB WE MET is its story. Although the story bears an uncanny resemblance to some films, it never gives you the feeling of déjà vu. The sequence of events in the first hour is akin to a roller coaster ride. The journey that the couple undertake to reach Bhatinda first and Manali later is mesmerizing.

But the pace slackens in the second hour. Partly because the goings-on get dramatic and serious. Also, things seem to be stretched in this hour. The love story takes its own sweet time to reach its destination, when the fact remains that it could've [and should've] reached the finale earlier. Thankfully, the end is expertly executed and takes the graph of the film higher.

On the whole, JAB WE MET is one of the finest [romantic] films to come out of Bollywood in 2007. At the box-office, it has the merits to work big time. Strongly recommended… Go with your family!

Full Review

Producer : Aamir Khan
Director : Aamir Khan
Cast : Aamir Khan, Tanay Chheda, Darsheel Safary, Tisca Chopra

The ten stories in the movie have been provided by the following writers: Gulzar, Javed Akhtar, Kamlesh Pandey andVishal Bharadwaj, so it is evident that you can expect some truly great short stories, by such maverick writers. And when it comes to direction, we have some of the best names yet again: Apoorva Lakhia, Sanjay Gupta, Jasmeet Dhodi, Meghna Gulzar, Sudhir Mishra, Shyam Benegal and Hansal Mehta.

Some of the stories are as follows: There is a highway which not just symbolizes the friendship of two characters, but also provides unpredictable twists and turns, which would affect the characters’ lives as well. Five friends start telling a tale which would end up involving these friends themselves. Friendship is tested and betrayal unleashes it’s ugly head in a story of a Don and his best friend. And a writer goes mad after he discovers something horrible about the woman he loves.

The cast of the movie comprises the following stars and the respective stories:

• Highway (Jimmy Shergill,Neha Dhupia)
• Accident (Anupam Kher)
• Rice Plate (Shabana Azmi,Naseeruddin Shah)
• Lovedale (Soha Ali Khan)
• Zahir (Aftab Shivdasani)
• Sex on the Beach (Dino Morea)
• Gupshup (Esha Deol)
• Gubbare (Nana Patekar,Natassha,Sameer Dattani)
• Matrimony (Arbaaz Khan,Mandira Bedi,Sudhanshu Pandey)
• Zenzi (Vivek Oberoi,Tanushree Dutta)
• Rise & Fall(Sanjay Dutt,Arjun Rampal)

Dus Kahaniyaan tries to touch every aspect of myriad lives, involving friends, enemies, strangers, lovers etc. And this is what the film’s USP is: touching virtually a large number of emotions and telling the tales which could be as real as anything, White Feather Films couldn’t have got it any better. And as far as some of the stars in it, who are deperately seeking that one elusive hit, it might just prove one for them. so be ready to listen the cliche’ line “Even though my role was small, it was highly acclaimed”. Because when it comes to unbankable stars at the hands of bankable directors, this is one line you are sure to hear.

Source : Bollywoodtadka.com