Reviews

I've just finished watching it and I don't think I've ever love-hated a movie more than this. I feel horribly depressed because of it. I feel like I need to reach out to someone, anyone, and give them a hug.

This is partly because the film is actually very painful and awkward to watch. It has this very wretched way of not showing what's actually going on but just shows the characters either being very emotional or very cryptic. Plus you get these fade to black transitions just when it looks like characters are about to open up to each other. The visuals are also intentionally depressing.

But it's all very well-crafted. And once you are prepared for the emotional tone of it, it is very rewarding to see the finer details in the acting and the story. And like similarly depressing yet cathartic films such as The Crow or The Road, this film makes you connect with the human beauty expressed within it such that it will haunt you with thoughts of what the characters are going through. This is no doubt thanks to the acting of one Aishwarya Rai, who is maybe at her career best here, portraying a living, breathing character like she's done never before or since. Ajay Devgan is good too, though the amount of restraint he imbued the character with is more infuriating rather than sympathetic, he almost comes across as the antagonist in this story. Something you might not agree with, but gives you something to think about as you come to terms with the story.

The rest of the cast is great too, bringing realism and gravity to the story and helping round out the main two.

In terms of being an emotionally wrenching experience, I'd put this film up there with Graveyard of the Fireflies. If you give it a try, you'll never forget this film and will feel an emotional wrenching wherever you remember it. This is art of the highest order.

EDIT: On further reflection I have to add that Ajay Devgan is actually also great in this movie. I found his character harder to appreciate because I wasn't prepared for it in the first viewing. As a fan of his work I was expecting him to play a more stoic, even aggressive character, so it was difficult for me to accept the more emotionally vulnerable character he was depicting so well in this film. I will have to make the time to watch this film again just to better appreciate the more delicate depth of it.

I just got out of seeing this and feel very disappointed. If this movie had come out a year or two after the original, then fans would be decrying it as a cheap, rushed sequel to cash in on the original. It's bewildering to see how they got the same result after all these years. The problem with it is it's too much of a sequel. If these were videogames, then this movie could be termed a mission pack DLC. It brings nothing new and the only way you could enjoy it is you want to feel nostalgic about the first movie while keeping your brain switched off. There's so much they could have done to make it a movie of the same level as the original, but whether out of reverence, or being chickenpoop, they've chosen to just rehash everything you've seen in the original Predator.

It's starts off very good and the characters are very well defined, with a solid cast. But they are not given enough to do, and only some sparse lines of camaraderie pass for character development and hence you don't get a feel for wanting to root for any of them to survive. Brody is solid with his role, but he is nothing to compare to Dutch. An Oscar wining actor, he is given nothing to do expect look hard. The rest of the cast is good too, but similarly wasted.

What really comes out bad are the predators themselves. This is the first proper sequel to the original and the alien villains of this movie still have the same features and flaws as before. The whole movie is a waste of potential, and the predators themself are indicative of this.

There are some very bad effects in one scene, and show what overall lacklustre effort went into it.

Good for a one time viewing, but I don't see myself coming back to it in the same way as the original. It's definitely better than the AvP movies, but still not good enough.

This movie has a very grandiose ambition of touching upon the hurt and disenchantment caused to people of a certain colour, who are mostly American by nationality. It also touches upon the self-alienation brought upon many by the events of September 9/11.

At the core of the movie is a story and a script with deep and universal symbolism with characters that represent innocence, mistrust and hope.

Caked over that promising central basis of the film is unfortunately a lot of bad direction, loose screenplay and a wholeheartedly bad, unnecessary and wretched use of music and emotional drama. What could have been a resoundingly powerful journey of poignant cinema, instead comes across as a commercial hijacking of sensitive issues.

At its heart, it is still a film with a positive message from the production company, but in terms of execution it shows all the limitations of the cast and crew behind it.

It is nevertheless a bold venture in it's scope of spelling out a genuine emphasis on the morals of unity and hope by weaving the different issues and obstacles depicted in the story into one cohesive whole that might take audiences a long time to be endeared to, on the same level as the previous films from Karan Johar.

The movie is in many ways similar to the main character, who can apparently learn to fix anything. He is a jack-of-all-trades, master of none. And as such, is the movie. There is too much scope on covering all the different issues, and not enough emphasis on a coherent narrative with steady characters.

There is none of the fun factor of the 90's Dharma movies. The music here is dry and dull, possibly to infer a sense of the austerity of the faith of the main character.

Overall, a movie not to be missed because the story here makes it unmissable. And that's a line which is too cheesy even for this movie.

I haven't seen any of David Cronenberg's film before and this won't help in making me see more.

If there's something artistic in it then sadly I will never know of it. There is violence, there is sex, but there is something missing. Oh yes, the point.

The acting by most of the cast is very good, especially Maria Bello. Ed Harris misses a beat in a few scenes but does a good job. Viggo Mortenssen though only shows the occasional signs of life. At the start when he is meant to come across as a mild-mannered family man he instead conveys the image of someone who's had a frontal lobotomy.

The family scenes come across as wholly artificial though Mortenssen shares a few good exchanges with the son and Bello carries every scene she is in.

The action scenes are the weakest point of the movie. The way that the gun-wielding stooges repeatedly seem to be frozen in awe as Mortenssen's character lumbers around is like some kind of running joke. In fact many scenes had me wondering if they're meant to be comedic.

It is well-paced with a good turn by William Hurt to add some sense of closure but at the end of the day everyone goes home none the wiser.

I'll get straight to what I didn't like about the movie. The background score and the pacing. They are very inter-linked and both let down the overall experience. Every time in the latter half of the movie when Guru says just about anything the gung-ho "Guru Bhai" theme kicks in. This just pulls the focus away from the character and into his "cause". Instead of delving into the personal aspects of the character, his possible self-doubts, motivation, etc. it immediately becomes about a man fighting for the cause of the underdog in society. The poor pacing goes hand in hand with the music, with an entire song that seemed unnecessary.

There is almost no development into the titular Guru, instead letting the characters play of that character while their characters are developed and more rounded out.

The first half is an absolute joy, but after that it just wallows in mediocrity. Abshishek Bachchan keeps the character alive throughout it though. Aishwarya turns in a fair performance. Vidya Balan deserves more credit for her role despite it being weakly tacked onto the story. Madhavan does a good job of a character integral to the story.

Mithun shows why he is the one with the most experience though. It's a shame he didn't have more scenes as his character was the heart of the movie and it really would have helped to see more interplay between his and that of Guru throughout it all.

A missed opportunity that really should have been better.

Don is the movie that shows Shah Rukh Khan at the top of his game. After having already played numerous memorable characters, he has taken the role of DON and made it his own, with shades of many of his previous memorable roles but given a megawatt jolt. His inexhaustible charisma lights up the biggest larger-than-life character in the history of Hindi cinema.

Farhan Akhtar demonstrates again why he is one of the most promising directors in Bollywood. He has covered every aspect of the movie with brilliant poise and delivers a highly intelligent action movie. Akhtar has taken of something much revered and made a contemporary, and true, classic that preserves everything laudable about the original, and improves on its every fault. The characters are more fully drawn and their roles are better balanced to provide a more cohesive and engaging narrative.

Boman Irani does a commendable job with a crucial role in the movie. Arjun Rampal hardly flinches in what could have been a breakout role but at least stands his ground. Kareena Kapoor makes an excellent turn as the new Kamini and hits every note just right. Lending a lot of substance to the role, she does it more justice than was done to it in the original.

It's almost a shame then when Priyanka Chopra becomes the principal female character. She certainly looks the part, especially as it was physically demanding, but doesn't really accomplish anything outstanding with it. Much more note-worthy is Isha Koppikar in the role of Anita. The role is very light on screen time and as subtle as it is brief. Koppikar though, gives a magnificent and under-stated performance to make it shine.

The female characters aren't given much focus, but they integrate well into the story and to the central character of DON and give scope for improvement in future instalments of what should become Bollywood's most favoured franchise.

The fight sequences could have been improved with better choreography, while the other action sequences range from fairly well-executed to excellent, and all make up a major step forward for Bollywood. The good production value really shows through on the screen.

The soundtrack is fantastic and seamlessly complements the on screen proceedings. Each song is not just entertaining, but also progresses the story.

The movie has hundred per-cent replay value; it is engaging and entertaining every time.

I thought this might be a fairly disposable action movie, but it's not, it's a very dramatic action movie with a wonderfully sharp script done full justice by an excellent cast. It is very stylized in places but with finesse, nothing looks excessive or gratuitous but rather serves the story.

John Abraham fits right into the role of the protagonist. He really accentuates the vulnerability of the character which adds a lot to his plight. Priyanka Chopra also does a great job with the character. One of her best performances maybe. Shiny Ahuja also delivers, adding another perspective to the story.

The film is perfectly paced, never letting up or getting distracted with side-stories. The songs are well implemented and serve the themes effortlessly. The first song "Tinka Tinka" is wonderfully subdued yet stirring and will stick with the viewer for long after viewing the movie.

An awe-inspiringly, intricately worked superhero movie. Like the instances throughout it that explain how Batman is inspired into picking his equipment (the spiked gauntlets, fire-proof cape), everything about the movie assembles into an enthralling whole. With an almost perfect cast, ample production values, seamless cinematography and music, and script that never lets up, no movie in the genre betters it. In fact it raises the bar for all superhero movies, keeping the tone gritty and real, yet doing every bit of justice to the characters.

Christian Bale is Batman, covering every nuance of the character; the journeying, the reactions. He conveys the most cerebral Batman yet, expressing the characters strengths and what sets him apart from other superheroes. Much better than the darkly humorous Keaton and the plain bored Kilmer.

Michael Caine forms a pillar for the storyline and helps draw out the background of Bruce Wayne. Caine simply is Alfred, leaving no doubt that anyone could have played the role better. Morgan Freeman's role is almost ethereal in it's presence which makes it very fitting for his commanding gravitas.

Katie Holmes has been decried as being a bad pick for her character but considering the limited scope in terms of the story, she didn't do a bad job. Maggie Gyllenhaal is taking over the character in the sequel, but it can be argued that it is mostly due to the politics behind the movie-making.

Cillian Murphy impresses in his role as the seriously flawed genius. He earnestly conveys what makes the character tick.

The guy playing Carmine Falcone is the most major let-down. But at least he shouldn't be in the sequel.

Gary Oldman isn't given much to do, but he does none of it wrong and we can all look forward to his expanded role in the future instalments.

One gripe is that the movie has a bit too much of a glossed over look to its visuals, this can be attributed to the high contrast lighting in the night and dark sequences which naturally there are many. But it helps to give the movie a more engaging polish and is a small niggle at the cost of realism.

In many ways this feels like an early draft of RGV's next gangster epic, Company. But that's not to say it's not as good. An apt analogy would be to compare these to the classic Terminator movies; where T2 was the bigger-budget and more polished, the original had its own merits.

Satya is the harsher and grittier tale which wastes no effort in glamorising the world of organised crime. It's not an entertaining action movie; even the action sequences are low-key to further the story rather than thrill, and the graphic gore and unsavoury language instill the mature tone.

Once again RGV demonstrates his knack for assembling a very fitting cast for very believable characters. Only Paresh Rawal in his cameo-esquire role doesn't quite fit in with bad dialogue that doesn't build any character for him, and this is the case for most of the police characters.

During their scenes through the movie, it pulls back from the perspective of the characters and becomes a moral discourse. The exception being the character of Kandelkar, who is drawn to be as human as the criminals he opposes.

The highlight of the movie is that it's not a tale of the good versus the bad, but about how the actions of people trying to go about their lives comes back to them and those around them, with a very firm message about the slippery slope of crime. The world the characters populate is recreated believably and the narrative is consistently engaging to draw the viewer in.

Manoj Bajpai playing the role of Biku Mhatre is widely and justifiably acclaimed. And the writing for his character is very well utilised in delivering the hard-hitting message of the movie. JD Chakravarthi, though over-shadowed, still does brilliant justice to the character, developing it subtly through the course of the movie. Urmilla Matondkar proves her acting talent here with a magnificently well-judged performance that keeps her character realistic instead of ingratiating, adding a very emotional perspective. The three key roles respectively explore the aspects of trust, ambition, and innocence weaved into a resounding outcome.

An annoying reminder that this movie came before Company is the inclusion of the songs. But they are at least sedated efforts that aren't too unsettling, instead maybe giving the viewer time to digest the thought-provoking narrative.

Overall, the movie is very praiseworthy for the talented cast and RGV's skill as a film-maker.

Within three seconds of the start of the movie, there is an explosion followed by an engaging car chase. That alone is enough for any fan of action to start enjoying this movie.

The script starts off very sharp, blending character building with progressive, thrilling, action sequences.

Big cast, but they are given time to be introduced into the story fittingly. And Rajesh Khanna is well placed in the starring role, shorn of his usual romantic overtones, he capably explores the role of a morally guided man on a mission.

Amrish Puri demonstrates why he is a Legend. He is not just a moustache-twirling, pantomime villain, there is depth to his character of a man corrupted by his ego.

Shabana Azmi is a real draw here because she brings a sensitive vulnerability to her character which is kind of wasted in an action movie like this.

Unfortunately, the movie starts to drag around halfway, with dumb plot vehicles and dumber acting. Maybe the production was hampered, but somehow it's as if the second half was the work of a different director than of the first half.

But then Amrish Puri comes back and salvages thing to an extent. Good thing that PETA didn't see this movie, Puri can be seen getting rather freaky with a snake in a very disturbing scene.

There's lot of good comedy set-ups, some intentional, thanks to Mithun and the divine Parveen Babi. And some unintentional, such as characters' names changing randomly (Kader becomes Ader, Shalini becomes Kamini), Rajesh Khanna's William Shatner-like delivery, the mother characters' aptitude for mortality, atrociously bad acting from the actor playing "Kader", male stunt doubles for women, bad foley effects such as a person imitating the barking of a dog, and most of all, Shabana Azmi looking embarrassingly cute when her character's meant to be taken seriously.

The ending is nonsensically convoluted, but ties things up... probably.

The first few songs are a bit of a nuisance, especially having to endure watching Zeenat Aman flipping around like a deranged, yodelling circus acrobat. But the later songs are enjoyable thanks to Babi, Mithun, more consistent music and the rest.

Overall, it's worth a watch for fans of the stars featuring here, especially the wonderful Shabana Azmi, but not much else to recommend it.

The movie starts off as a charming, witty satire of long-standing bollywood clichés but then fails by expecting the audience to take the same clichés seriously to fill out the threadbare story. Along the way many laughs are to be had but they empty as the script runs out of gags long before the end.

Shah Rukh manages to keep the length of it watchable with his boundless charisma but there is little depth to his character. Indeed the main problem is that the characters are all under-written. Shreyas Talpade is almost entirely wasted. As are most of the other characters, such as Kiron Kher who dazzles in her key scenes, but are then left neglected.

Deepika Padukone impresses in her debut, displaying versatility that could pave a successful career forward. Arjun Rampal also gives a rare good performance. In a role that could have been hampered by over-acting, he gives a well-judged tone to it.

The songs are a highlight, especially the one which utilized slick editing to bring the stars of past and present together. Not quite so much of a highlight was the cameo-filled sequence which runs far longer than it should have.

Overall, the first act could be seen again and again by any fan of Hindi cinema but the full running time would have few watching the movie through to the finish on repeat viewing.

This movie is a milestone in Hindi Cinema. It shows that Bollywood can match Hollywood in terms of churning out vacuous yet big budget action flicks. Nevertheless, while for now the audience may be divided as to cheering or jeering it, in years to come it will be celebrated in the "So Bad, it's Good" category, with an inane script and dialogue that draws out uninvited laughter. The only way to be entertained by it is to make fun of it to entertain yourself.

But the stars have made the most of it and look their glamorous best here. Hrithik Roshan's charisma and looks carry the movie while Abhishek Bachchan's stoic hero gives grounding to the extravagant set-pieces. Aishwarya Rai gives the most atrociously misjudged performance of her career. What should have been more of a hot Michelle Pfeiffer-as-Catwoman role became a Halle Berry-as-Catwoman role. That's if Halle Berry mixed up her notes with Alicia Silverstone's for her role in Clueless. Bipasha Basu lends a hand in disposing of any credibility left to the story. Both look amazing though and Bipasha especially gets credit for not glamorising anorexia.

The movie doesn't have the same infectious sense of fun that something like Main Hoon Na has but it's worth a watch as long as you keep one finger over the fast-forward button.

This movie was very well-shot and atmospheric, so it gives a truly emphatic sense of the journey that the main characters go through.

But in typical Mani Ratnam fashion, he takes 30 minutes to establish what could be efficiently done in one scene, or even one line of dialogue. The movie doesn't seem to go anywhere in the entire first hour; SRK's seems to be a simplistic cartoon character, and Manisha Koirala's is enigmatic but one tone. It is only when the action shifts to another location that the characters start to show some depth and the movie gets going.

The movie belongs to Manisha Koirala for her hauntingly powerful performance. She portrays every aspect of her character with a stark realism that few actresses would have the courage or talent to embody. SRK is good but nothing to shout about here. Preity Zinta excels at her role and adds more perspective to the story.

It is good in how close it stays to the characters rather than deviating from them to tackle the issues it raises, and the songs make it memorable.

A movie like this could only be made by the Yashraj Studio. But if you're not expecting stark realism then its okay, because on the flip-side only Yashraj could pull off a movie like this, with their slick production values and the star power to make it work. Here, the mix of escapism and relatable characters is just right.

Saif Ali Khan demonstrates good versatility and Rani Mukherjee lends real grace to her more straightforward role. But the real star is the little girl, who upstages both in all her scenes. An amazingly good casting, she is reminiscent of the Award-Winning young Anna Paquin and hopefully she has a bright future ahead of her.

The pacing is very good. Just when it looks like things are about to get too clichéd or boring, it picks up again. The songs meld well into the story and the music is entertaining and upbeat.

Some people are trying to burn it at the stake calling a rip-off of Talladega Nights. It clearly started as such. But I think this is the superior and more enjoyable movie. I'm a Will Ferrell fan but I would recommend TRRP over TN. Consider it a case of fixing what was broke.

In one word I would describe the movie as bloated. Sam Raimi, no doubt now one of the most empowered directors in Hollywood, has really been let to indulge himself with this one. But though the movie seems to really lag in places, the result is that there's no skimping on character development. We've already got to know most of the characters over the last two movies but it's good to see further development, especially for Mary-Jane who has evolved over the three movies, and Dunst is magnetic with the role. Toby McGuire IS Spiderman as usual and takes the new developments with the character in his stride.

We could have done with less Sandman, more Venom. Though we get to know Eddie Brock very well, Venom was very under-utilized.

The movie doesn't seem to have the same sense of wonder as the previous two, but that seems fitting with the theme as it is more introspective. The ending seemed to abrupt, but at least ties up all the story arches.

This movie is widely admonished as being a copy of the Will Smith feature Hitch. That movie was dull.

This movie isn't so much dull as unbearable. Govinda looks way past his prime. He is not at his best doing roles like this. It is similarly unconvincing as his performance in Deewana Mastana.

Salman Khan is at his eye-aching "best". And that's in the few scenes where he remembers to put clothes on. It could only have been through nepotism that this eye-sore's scenes could be saved from the trash bin of any movie's cutting floor.

Another case of Bollywood embarrassing itself with it's shameless cloning. Another case of the Bollywood audience majority embarrassing themselves by making this a hit.

Film-making at it's finest.

Nothing loud and boisterous. No over-stylized cinematography, pointless set-pieces, cheesy dialogue, or over-flowing emotions.

A perfect example of why the finest movie-making talent in Hollywood is British. And possibly the best caper movie of recent times.

Had this been from Hollywood, every fine detail of the complex subtext in the story would have been blown apart. Instead, everything is under-played, the characters are superbly realistic and believable, and the script sharp as a pin. And the cast is a brilliant ensemble.

Worth many repeated viewings for the subtle humour and to get the most out of the twisting plot developements.

Good effort, but Ridley Scott needs to try harder to do better in the genre.

It seems wildly over-rated. A lot of the early parts are confusing, in a bad way. The characters are presented in a raw and realistic manner, but not much characterization is given to build up a personality, instead things are strangely rushed in a way that a lot of events happen but the character's motivations aren't delved into. Russell Crowe's Richie is the good cop, he's a womanizer, he's a hard ass, and that's about it.

Denzel Washington for all the praise he got didn't seem to put much effort in. He was much more convincing in his role in Man on Fire. Here, he's cold and unblinking in one scene, a jittery rattled old man the next. There's nothing to draw out the conflict inside. For example, the scenes when he buys his mother the new house and watches her face so unemotionally, then remains impassive even as he hugs her. Same later when he hugs his wife. There's just this blank look on him all the time. You don't get a feel for the intensity inside such an individual. Maybe it was weak directing on the part of Ridley Scott.

Russell Crowe came across slightly better, maybe on account of having worked with Scott before. But the script doesn't really build on a personality for his character either. Both characters, Frank and Richie, seem paper thin by the end, so the focus pulls away from their actions and is just about the moral of the story.

The soundtrack is supposed to be great. But it didn't really stand out, and some of it was borrowed from movies like Jackie Brown.

A good one time watch, but gives not inclination for further viewing.

I was expecting not much more than over-blown drama wrapped up in bright colours and ridiculously contrived choreography.

But this is a mesmerising treat for the senses. A powerfully moving, extravagant family drama set around a captivating setting.

The story is of Shakespearean/Greek Legend magnitude. Delving into the powerful struggles within a royal family and sublimely demonstrating how the lust for power leads to contempt, deception and destruction.

Chow Yun Fat gives a commandly regal performance befitting no less than an Emperor. He exudes the restraint and depth of such a character. And Gong Li makes the role and the movie her own, emoting with flawless grace, the fall from grace of a woman borne to lead but doomed by the flawed men who serve her.

The rest of the rest of the cast is superb too, and the script never lets down, but picks up pace right up to the hard-hitting climax.

On top of the stunning visuals and engaging drama is the added delight of wonderfully choreographed action and battle sequences.

Not one for fans of martial arts or historical movies, but an unmissable treat none the less.

Now this is what Bryan Singer should have tried bringing to the big screen instead of Superman Returns.

This animated movie does more with the character than any live action movie has. Characters are well-drawn, well-animated and there is brilliant interplay between them to draw things out and tell a good story.

It explores the depth of the character of Superman, tasked with being an absolute pillar of morality to the public. And there is exploration into the character of Lois Lane, the journalist out to not just document all that he does, but also settle the conflict of her feelings for him. Interesting developments for other characters as well such as Jimmy and the editor, and the story packs it all into a highly entertaining hour and a half. The action is a highlight. The animation and the choreography of the fight scenes really stand out, putting the choreography of most live-action Hollywood movies to shame.

The script is excellent, it just feels a little rushed at times, but that's understandable given the short running times for animated movies. All the more reason why it would have been even better in live action, but the budget required to do it justice might be too much.

This is a very entertaining and thoughtful movie to watch even if you're not a fan of comics or cartoons. It's certainly not for children, the violence isn't graphic but it is certainly implied and a bit shocking.

The movie starts off kind of slow, looking low budget and sketchy. But after just a few scenes, the story, absorbing characters and mesmerizing visuals take over and it becomes riveting to watch.

The people decrying it as nonsense clearly have never felt true love. Mushy, yes, but true.

The movie unwaveringly depicts the lengths to which men go to reconcile their love. With seamless allegories depicting courtship, faith, marriage and growing old together, the movie draws out just how it is that one half of the species feels about their other half.

The story is even further-reaching, branching out over the cycle of life, mortality and responsibility, the ease of how the fragility of life can be crushed by overzealousness.

Every frame of cinematography looks marvelously crafted and the script doesn't let up but continues to build with poignancy until the zen-like climax of the ending which ties together all the seams to give a brilliant sense of closure and thoughtful insight.

Very highly recommended for everyone to see at least once, because even if it doesn't leave the viewer with a favourable impression, it will leave them thinking and questioning.

Highly enjoyable and at times thrilling movie.

Smartly shot, with high production values. But there's nothing glossy about the story, with neat touches like stray dogs littering the streets.

The musical opening credits is fine and the first song is pleasing to the ears, though wasted on a tacky unimaginative picturization, but it's a fitting intro for John Abraham's character, conveying the initial shallowness of the character.

Fast-moving script with very sharp dialogue helped by strong direction as can be expected from the highly respected Sippy family.

The characters are well-defined to create brilliant interplay. Nana Pathekar is very compelling, and Abraham is perfectly suited to invoking a level of sympathy for such an arrogant character. The under-rated Sonali Kulkarni takes reign of her character in the second half, owning her scenes even against a veteran like Pathekar.

The unpredictable twists let the lives of the characters play out, and the story marvellously draws out the clash between the main characters, blurring the lines between a buddy movie and a duel.

The music is very upbeat, perfectly pitched in keeping things light and enjoyable as the story moves along.

The ending is smart, poignant and very funny. From start to finish the movie is thoroughly entertaining with a story that will grow on the viewer long after viewing it.

War... It's Faaaantastic!! At least it is if you're a guy with a chip on your shoulder and need something to prove.

In a time of Political Correctness skewering the joy out of every thing good and wholesome, the Italian Stallion brings to the screen something that eviscerates all the clichéd standards of action movies with brutal violence that could give even incumbent housewives Vietnam Flashbacks. There is not a shred of candy-coating to tone down the brutality of the subject matter.

Not to glorify the adult content, but this movie puts to shame the genre of movies such as Saw/Hostel/Hills Have Eyes. This isn't stuff that was thought up by some loser with no imagination. The brutality captured in this movie is the real violence that affects people's lives around the world. The missionaries that put their lives on the line in the name of hope are the real people who go out there to try and make a difference. And the character of John Rambo is the soul of every man who yearns to bring justice no matter what the cost.

An inspiring movie for anyone with faith in the hard work that honest men do to bring peace to the few that can appreciate it in the world.

This film deftly covers the subject of how one deals with personal ambitions and portrays a harrowing look into the condition of paranoid schizophrenia.

In both, it succeeds and is very watch-able. The script is wonderfully implemented though later on it slows unnecessarily at times. But it never deviates from the central characters. Kangana Ranaut's character has to deal with what her life is becoming, while Shiny Ahuja's character has tough choices to make about what he wants from his.

Ranaut gives a powerful performance, filling out every nuance and facet of her character. Shiny Ahuja brilliantly plays his character, emoting the choices he goes through. The supporting cast aren't memorable but do a good job.

The ending is a little heavy handed, but doesn't detract from the rich experience the story offers.