Farhan Akhtar and Ritesh Sidhwani’s Excel Entertainment has produced two films on friendship and camaraderie — DIL CHAHTA HAI and ZINDAGI NA MILEGI DOBARA — both leaving footprints in the sand of time. Additionally, films like 3 IDIOTS and KAI PO CHE! explored bromance and bonding amongst friends with utmost sensitivity. FUKREY, directed by Mrighdeep Singh Lamba, also falls in the same space, yet is different from the aforementioned movies. This one’s a light-hearted, wacky fare that throws four youngsters in hazardous conditions, but, at heart, remains a fun and joyous ride.
FUKREY mirrors the mindset of the youth of today who look for shortcuts to raise funds and attain their targets/dreams. However, unlike the aforesaid movies, this one makes no political statement, nor does it tackle larger than life issues. Although the premise/subject material may give an impression that it’s a serious fare, the director and writers Vipul Vig and Mrighdeep Singh Lamba strike a fine balance between solemn and humorous. Frankly, the objective is to keep the spectator amused and FUKREY succeeds in this endeavor largely!
FUKREY is about four youngsters and their tryst to make it big in life. Choocha [Varun Sharma] gets dreams, which Hunny [Pulkit Samrat] construes and decodes into a lottery ticket number. With the motive of acquiring the examination papers in advance, the duo decides to invest more money and reap benefits. Meanwhile, Lali [Manjot Singh] and Zafar [Ali Fazal] too need to fulfill their individual desires and aspirations and join hands with Hunny and Choocha.
However, things go topsy-turvy when they pick up a loan from Bholi Punjaban [Richa Chadda], a female gangster…
Post KHOSLA KA GHOSLA!, OYE LUCKY! LUCKY OYE!, DO DOONI CHAAR, DELHI BELLY, BAND BAAJA BAARAAT and VICKY DONOR, there is a barrage of films set in North India. But the similarity ends there. Like I pointed out at the outset, FUKREY is more about the Gen X who are keen to make it big via shortcuts and how they get entangled in a tight spot. The writers borrow from slice of life situations and throw the four characters in circumstances that may seem serious, but the spectator remains thoroughly amused by the goings-on. Additionally, the film stays true to Delhi’s colloquialism, but the lines and speech are such that the film caters to a universal audience. Also, the humor is subtle and understated and not in your face tomfoolery and clowning.
The best thing about FUKREY is its casting and by zeroing on relative newcomers for the principal leads, the makers steer clear of the baggage of image that reputable actors, generally, cart on their shoulders. Besides, FUKREY comes across as a renaissance for Mrighdeep, who faltered in his directorial debut TEEN THAY BHAI. This time, the screenplay moves fast and furiously, the escapades are wild and wacky and the pacing is just right. In fact, the writing is the biggest strength of the enterprise. Dialogue are witty and mirthful.
The sole problem with FUKREY is that the narrative appears lengthened towards the concluding stages. A crisper culmination would’ve only facilitated in creating a stronger impact. As a matter of fact, the entire episode of raising the finance, right up to the guys settling the score with the female gangster, could’ve been swifter and even more compelling.
Ram Sampat’s soundtrack is in sync with the mood of the film. ‘Fuk Fuk Fukrey’, ‘Jugaad Karle’ and ‘Ambarsariya’ are notable compositions. The DoP captures the environs of old Delhi charmingly. Dialogue are amusing and augment the fun quotient.
It would be unfair to state that FUKREY belongs to any one actor. Pulkit, Manjot, Ali and Varun, each of them gets ample scope to shine in their respective parts. Pulkit is confidence personified. He has the potential to make it big. Manjot is getting better with every film. He’s top notch. Ali, last seen in ALWAYS KABHI KABHI, is earnest to the core. First-rate. Varun springs the biggest surprise. He contributes enormously to the laugh-out-loud moments. Richa Chadda is in terrific form and from her introduction itself, the graph of the film steers Northwards. Vishakha Singh is in super form. Priya Anand is wonderful and the scenes with Pulkit win you over. Pankaj Tripathi is, as always, fantastic.
On the whole, FUKREY is a twisted and delectably uproarious take on the shortcuts the youth of today indulge in. Watch it for the sheer novelty and uniqueness it lays on display. Recommended!
Rating: 3 and Half Stars.
https://www.bollywoodhungama.com/moviemicro/criticreview/id/566624
Tags: Ali Fazal Fukrey Manjot Singh Pulkit Samrat Reviews Richa Chadha Taran Adarsh Varun Sharma
Ankur Arora Murder Case Movie Review by Taran Adarsh
The medical profession is often referred to as the noblest line of work. But we often hear/read about unscrupulous practices that bring disrepute and disgrace to this dignified vocation. It’s often said that the underprivileged or poverty-stricken are most affected by medical malpractices or laxity, but I don’t concur with this stance entirely. It affects the upper crust too. Goof ups by health centers or inside the operation theatres is a commonality the world over. The most glaring case in point is that of Michael Jackson, which hit front page news across the globe…
After attempting erotic thrillers and murder mysteries, Vikram Bhatt delves into the realistic zone with ANKUR ARORA MURDER CASE, which tackles the issue of medical neglect. Besides, this film goes beyond the issue of medical negligence. What happens when justice is denied to the victim’s family? Vikram and director Suhail Tatari take the spectator from inside the operation theatre to a courtroom, where an eminent surgeon is tried for medical recklessness.
Dr. Romesh [Arjun Mathur] was in awe of Dr. Asthana [Kay Kay Menon] of Shekhawat General Hospital. He had a live-in relationship with Dr. Riya [Vishakha Singh], his co-intern and the love of his life. However, when an 8-year-old boy Ankur [Vishesh Tiwari] dies due to Dr. Asthana’s medical negligence, Romesh realizes that a good surgeon is not necessarily a good human being as well.
Together with Ankur’s mother Nandini [Tisca Chopra], Romesh sets out on a turbulent journey to fight for what is right. A battle for justice against his mentor, the hospital and the love of his life.
Reportedly based on a true incident, ANKUR ARORA MURDER CASE focuses not just on the negligence in the operation theatre, but also throws light on the justice mechanism in our country. Come to think of it, a film like ANKUR ARORA MURDER CASE acts as wake up call for many a doctor or those associated with this profession/medical lobbies, besides making the spectator cognizant of the fact that we ought to have a dedicated procedure for speedy disposal of such cases.
The director develops his characters well, keeps the goings-on as authentic as possible and mounts the tension steadily. The only time the movie gets formulaic is when the warring lawyers are shown in an intimate relationship. Those portions, although handled persuasively, seem pretentious and exaggerated, but Tatari ensures the film is back on track towards the concluding stages. A few sequences before the culmination also seem stretched. Also, the sting operation will have its share of advocates and adversaries.
Tatari’s handling of the intricate subject matter merits admiration and so does Vikram’s choice of theme. Besides the taut screenplay, the dialogue as well as the background music accentuates the proceedings delightfully. Ideally, ANKUR ARORA MURDER CASE should’ve been a songless film. That way it would’ve enhanced and also justified the cause of making this movie.
ANKUR ARORA MURDER CASE is embellished with commanding performances. Kay Kay, as expected, is exceptional in a character that has disconcerting shades. Tisca Chopra is splendid as the mother who loses her child. The defenselessness, anguish and suffering she communicates seem so bona fide. Arjun Mathur shines in his part and what’s more, stands up to an accomplished actor like Kay Kay in several sequences. Vishakha Singh is proficient, handling her part with sensitivity. Paoli Dam delivers a power-packed performance, managing her character with supreme confidence. Ditto for Manish Chaudhari, who does a commendable job. Vishesh Tiwari is alright. Harsh Chhaya and Sachin Khurana are adequate.
On the whole, ANKUR ARORA MURDER CASE illustrates and spotlights on the gaffes in the medical profession most persuasively. A heartfelt effort that deserves to be watched!
Rating: Three Stars.
https://www.bollywoodhungama.com/moviemicro/criticreview/id/568639
Fukrey Movie Review by Anupama Chopra
https://youtube.com/watch?v=k2_QJNEN1QY
Fukrey Movie Review by Rajeev Masand
Rating: 2.5
June 14, 2013
Cast: Pulkit Samrat, Varun Sharma, Manjot Singh, Ali Fazal, Richa Chadda, Pankaj Tripathi
Director: Mrighdeep Singh Lamba
Four slackers in Delhi seeking fast cash make a deal with a ruthless don. But when things go wrong, as they inevitably do, they must pay the price for it. That familiar premise gets a fresh coat of paint in Fukrey, with co-writer and director Mrighdeep Singh Lamba putting a new spin on some old clichés. Yet, while individual scenes inspire laughs, the film doesn’t quite fly because there are too many gags and not enough plot.
Hunny (Pulkit Samrat) and Choocha (Varun Sharma) badly want to get into college so they can ditch classes and ogle girls. Lali (Manjot Singh) is fed up of working at his father’s eatery, desperate to “migrate” from his correspondence course to a campus. Meanwhile, brooding musician Zafar (Ali Fazal) sports a guitar and a permanently sad face, with neither aspirations nor inspiration in sight.
They’re interesting protagonists, but the makers invest too heavily in them and not enough in the story, taking almost an hour before introducing the film’s most delicious character, a tough-talking crime boss in high heels, Bholi Punjaban (Richa Chadda), who bankrolls the boys’ harebrained plan to crack an underground lottery.
Unlike the far superior Delhi Belly, the writing in Fukrey is never consistent. There are laughs to be had in the verbal sparring between Hunny and Choocha, and a running joke involving Lali being robbed each time he parks outside a gurdwara is sheer genius. Although many scenes work on the strength of sharp dialogue and spot-on performances, they don’t always fit cohesively in the film’s narrative thread. The solemn interludes with Zafar stick out like a sore thumb, and the anti-drug message in the end is just pat. Similarly, Hunny’s romantic track with a simple girl from the neighborhood feels gratuitous at best.
A tighter script and more screen time for the excellent Pankaj Tripathi, as enterprising campus security guard Pandeyji, might have helped turn this moderately entertaining film into a rollicking good caper. I’m going with two-and-a-half out of five.
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