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DON2:REVIEWS pg 9(TOI) (Page 35)

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Posted: 23 December 2011 at 3:48am | IP Logged
okay read his review of Don the chase begins n RNBDJ too i think !!!LOL
 
 
want the link ?? LOL
 
 
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Edited by tomnjerry2 - 23 December 2011 at 3:48am

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Posted: 23 December 2011 at 3:48am | IP Logged
Whats the audience reaction acc to the video??( cant watch it through mobile)
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Posted: 23 December 2011 at 3:50am | IP Logged
Originally posted by Relda

Show me one bad review of SRK's film by Raja Sen before Ra One. 
 
Till the age of Salman most of the critics loved SRK. Ever since someone else has beaten him at the BO they all love to trash him too.

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Rab don't make them like He used to

Raja Sen | December 12, 2008 17:54 IST


Anushka Sharma and Shah Rukh Khan
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The constantly stressed romantic ideal in Aditya Chopra's [Images] Rab Ne Bana Di Jodi is that you know love is for real when you see the lord (Rab himself) in another human being. Rab is also accused of being the one responsible for scripting this love story, and it is His will -- says the supplicant leading man -- as to when it starts and how it finishes.

If this indeed be the case (though it seems far likelier that Adi's palming off screenwriting blame to a higher authority), then the Almighty needs a severe lesson in economy, in being able to end a film when it should instead of far past the rightful finish line. It wouldn't be remiss either for Him to pick up a few books on plot, and realise the fact that audiences get annoyed when you pretend there's a story instead of there actually being one.

During the opening shots, the camera stutters as it pulls out of an Amritsar [Images] gurudwara, the kind of little jerk that pops regularly up in low-budget television documentaries. Considering that you're watching a massively hyped megabudget film from the most plasticky banner of all instead of a Doordarshan documentary, this is a stutter of hope. You see the camera moving from portly men on cycles to banal storefronts and you wonder: are they really going to make something earthy, something realistic, something unlike the usual gimmickry?

Three very long hours later you realise that the stutter was the movie's most honest moment.

A scene from RNBDJBecause honestly -- and I say this as somebody who thinks Dilwale Dulhaniya Le Jaayenge is the quintessential Bollywood masterwork of the 1990s -- we really can't take one more film with a heroine begging her Raj to take her away.

Yash Raj Films has always indulged in much self-referencing, but now the oh-look-how-we-used-to-make-hits giggle has turned into a smug gloat, and it's become sickening. People get onto bikes and the Dhoom song plays, Shah Rukh Khan [Images] christens himself Raj and uses his Dil Toh Pagal Hai intro as an opener, and while there's nothing wrong with the technique per se, Adi and his directors have flogged it to death. It's as if every young director is told to look back into the YRF catalog and pick up a hit or three, and 'borrow' song or scene or dialogue or, well, plot.

And the young Mr Chopra seems trapped in the past, in the flutter of yellow dupattas and Punjabi fields. And even the Punjabiana is so darned forced. Just last week we were raving about an excellent depiction of the Punjabi milieu, but naturalism now seems alien to Aditya. Shah Rukh and buddy Vinay Pathak may have been able to act well, but are made to say 'yaara' in the middle of every blasted sentence to each other. The 'hi-ji,' 'hello-ji' sounds all right, but if everyone lays it on this thick... Well, let's just say too many kukkads spoil the broth.

Still, we go in expecting an entertainer, and the film starts off poised to deliver. Youngling Anushka Sharma [Images] looks earnest enough, an excited bride hurriedly dispensing with SRK [Images], fobbing him off with polite greetings as she runs up to inspect her trousseau. Khan, a wedding guest, fumbles nervously with a straw in his bottle of cola, as things go horribly wrong -- something foreshadowed in a very badly recorded voice-over that opens the film and never really comes back. Alas, the baraat bus has crashed, and the wedding isn't to be. This all happens in the first few frames of the movie, so one was prepared to appreciate Chopra for breezing through a section that would have formed an entire film plot for, say, Sooraj Barjatya.

Yet how little we are prepared for. Chopra's economy soon takes us into an inexplicable plot, one where... Okay, let's try and be chronological. Shah Rukh the Square marries young Taani. It is the honourable thing to do, he feels as he bumbles around and takes his personals up into the attic, leaving her on a four poster bed with one pillow and all the privacy she can ask for. Yet she doesn't love him and -- without going into details, really -- this apparently necessitates a makeover for SRK.

A scene from RNBDJKhan himself doesn't do too badly. Granted, the first few minutes of him trying to be all geeky come across as Irrfan Khan [Images] doing a bad Amol Palekar impression, but he improves drastically and manages to bestow the character with -- if not heart -- at least a general likeability. This is no small ask when this introverted clerk turns kewl at the drop of a hat, and suddenly becomes the filmiest stud in the world.

There is no progression to his metamorphosis, not even an awkward fumbling. No, to be fair, there is actually a great moment when SRK post-makeover stands and fidgets nervously, grapples with his jeans and wonders how to walk the cool walk -- but it's a scene that dissolves into nothingness as he reminds himself that he's now cool, and cool he becomes. Snap those fingers, baby.

Still, it is a fun performance, albeit in fits and starts, and those moments we spoke of are clearly all conjured up by him.

There are several such moments -- including a neat scene with SRK talking to a mannequin wearing his clothes -- but each of them overstays its welcome, turning into a longdrawn and obvious explanation of the characters and their motivation. Heck, this'd be a much improved film if every single one of the characters didn't talk to themselves. And lets not even mention the background score or the way the characters are reflected in a painting, painfully Mohabbatein -- except its Guru Nanak in the frame this time.

Anushka does well, but this is an out-and-out SRK film, which negates her role significantly. She has a nice smile and clearly looks Punjabi enough, and is adequate in a wholesome, television-actress sort of way. Her character gets to be equal parts plucky and melancholy, but the writing is so obvious that this isn't the kind of role that could challenge the debutante.

The first half of the film seems somewhat alright, though I'd love an explanation on how a woman besotted with a certain man not just imagines him on screen in a romantic medley, but sees him dance with a string of Bollywood heroines instead of herself. The second half of the film sees a lot of the aforementioned Rab-invoking, with much talk of divinity and love. And as you yawn through the last half hour -- wherein lies the Rab -- you realise that the entire makeover device, which masquerades as the plot of the film, was completely unnecessary, and all the hero needed to do was take her to the temple a few more times. And a redundant plot is as unforgivable as it gets.

Mr Chopra, you make a lot more money than I ever will, but I'll still take this opportunity to throw up some basic, unsolicited suggestions: ask Farah Khan [Images] how to deal with movies-within-movies and have fun; ask Dibakar Banerjee for some help with realistic-sounding accents and dialects; ask Shirish Kunder or Farhan Akhtar [Images] for advice on creating geeky, square guys who stay in character instead of breaking it as soon as a song starts.

Just make a film that doesn't feel over a decade old.

And hey, please get over DDLJ. Before you get us to start disliking that fantastic film.

Rediff Rating:



 
 
 
 
ROFL
 
 
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Posted: 23 December 2011 at 4:01am | IP Logged
Don 2 Has 80% All India First Day Opening

 

Friday 23rd December 2011 15.30 IST

Boxofficeindia.Com Trade Network

 

Don 2 has opened to an 80% response on an all India basis. The multiplex opening is 80-85% while single screens on average are 70-75%. West Bengal has opened very strongly with collections at multiplexes and single screens 90% plus from the first show. Theatres like Big and Paradise were house full from first show. Overall it is a very good opening at multiplexes and good at single screens

 

North India is super strong at some centres but others being around 70%. Delhi NCR is very good while Punjab is good but many stations of UP are lower Rajasthan had a good opening while the CI and Bihar saw the lowest opening as B and C centre  single screens in these circuits were 40-60% and these circuits are full of these type of centres. South India should also have a good first day especially Mysore.

 

The evening shows at multiplexes are showing good bookings at big centre multiplexes but the early public reorts are mixed.


 
 
 
 
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Posted: 23 December 2011 at 4:01am | IP Logged
Printed from

Don 2: Movie Review

The writer has posted comments on this articleGaurav MalaniGaurav Malani, TNN | Dec 23, 2011, 02.46PM IST
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Director: Farhan Akhtar
Cast: Shah Rukh Khan, Priyanka Chopra, Boman Irani

By the time it dawns on you that a 6-feet contemporary Bollywood actor (in a cameo) has been passed off as the unabridged undercover for Shah Rukh Khan's Don in the film, you are expected to be equipped for many more of such cinematic liberties. And rather than crying a spoiler there, you could rather preset your logic mode to the multiple masquerades in store in the movie.

Don 2, the sequel starts off almost from where the earlier episode ended and while it attempts to maintain some continuity with the last installment, it fails to bring back the intelligence of the original. Don (Shah Rukh Khan) emerges in Malaysia and gets himself arrested only to get the convicted Vardhan (Boman Irani) out of jail. Vardhan has keys to a video footage which they use to blackmail a bank vice president (Alyy Khan) to get access to a German bank's security systems. The big plan is the old-fashioned and formulaic robbery of the currency printing plates from the bank. So the sequel to Don merely boils down to being a heist film.

The film, more or less, starts as an action flick with Don's one-man-army introduction in Thailand, a convenient escape from Malaysian prison and some conventional car-chase sequences in Germany. None of them excite much until you realize you have already reached the interval. The plotting and scheming starts in the second half with an easy induction of a hacker (Kunal Kapoor) who can not only barge into the security systems of the vault but also seems to have blueprints of the bank building to the minutest details.

The writing by Ameet Mehta, Amrish Shah and Farhan Akhtar is more style over substance attempting to camouflage cliches with the cool quotient. Even the central heist seems confusing and convoluted but Farhan Akhtar intentionally keeps the pacing swift enough, leaving no time for the viewer to notice any loose ends. However, the more he makes the situation easy to suit his script, the more it becomes difficult for the audience to digest things.

Even the robbery seems mundane Hollywoodish exercise with no moments of thrills in particular. However the highlight isn't the heist per se but Don's hidden agenda behind it. While it isn't much difficult to decode the mystery, it makes for a decent climax. The director mercifully keeps mush away from the major proceedings though he can't resist the temptation in the climactic portion in his attempts to induce chemistry between Don and his rival, Roma (Priyanka Chopra). But Don would have been better-off as the suave and stonyhearted killer rather than a 'Rahul' prototype. Thankfully the chemistry is peripheral and never blooms into romance.

Also one would have preferred to see Don as more brain over brawny hero but the director makes him a jack of all trades giving him James Bond kinda complete-man characteristics. Vulnerability is alien to Don, essentially making him larger-than-life. But despite being an unethical drug-lord, Farhan Akhtar's treatment is such that you still adore him as the hero over abhorring him as an outright villain. Don 2 never gets into the good v/s evil battle.

The cinematography by Jason West is striking. However Shankar-Ehsaan-Loy's musical score doesn't leave a mark this time and the background score has to repeatedly resort to the theme-piece from the original for some impact. Farhan Akhtar's punch-lines in dialogues are initially amusing but with a Don-ism in every second line, it sounds hackneyed and hollow after a point.

Shah Rukh Khan is in his comfort zone as the Don bringing more charm than cruelty to his character. He rules supreme and the film's indulgence with him is as much as Don's obsession with himself. Everyone else is overshadowed. Priyanka Chopra is passable. Lara Dutta, as the Don's moll, is simply a substitute for Isha Koppikhar from the prequel and is hardly there for a few scenes. Boman Irani is underused. Kunal Kapoor fails to register any impact. Om Puri, Alyy Khan and Nawab Shah are plain functional. Sahil Shroff irritates.

Don 2 ends with the promise of Don 3 (that's what the number-plate of Don's bike reads) and the trademark dialogue 'Don ko pakadna mushkil hi nahi, namumkim hai' (It's not just difficult to catch don, it's impossible). But we would surely want to 'catch' up with a more worthy sequel to this. It's not impossible Farhan. Is it?

Verdict: Above Average

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Posted: 23 December 2011 at 4:01am | IP Logged
Originally posted by --ania--

Why do we always demand good music/songs from BWood movies? Do we expect the same from Hollywood movies? Then, the same ppl claim 'oh that was a copy of this hollywood movie and that'...double standards much?!?


atleast some song goes with da screenplay mayb some useless on da middle song for eg desi beats in BG ya its a good song bt y do u need to put in da middle...
don2 has songs but very poor don songs wr okk but don2 music is mediocre...>>>

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