Box Office Pedictions of “Chennai Express” and “Once Upon a Time in Mumbaai Dobaara”

CHENNAI EXPRESS:-	Once Upon a time in Mumbaai Dobaara
Paid previews: 5cr
First day : 28.5cr (+5cr)= 33.5cr	First day : 22cr
If Word Of Mouth is GOOD,	If Word Of Mouth is GOOD,
Weekend- 66cr (+5cr)=71cr	Weekend (4 days)- 64cr
First week- 112cr (+5cr)= 117cr	First week (8 days)-89cr
Lifetime- 185cr (+5cr)= 190cr	Lifetime- 140cr
If word of mouth is MIXED,	If word of mouth is MIXED,
Weekend- 61.5cr (+5cr)= 66.5cr	Weekend (4 days)- 60cr
First week- 94cr (+5cr)= 99cr	First week (8 days)= 81cr
Lifetime- 135cr (+5cr)= 140cr	Lifetime- 108cr
If word of mouth is BAD,	If word of mouth is BAD,
Weekend- 56cr (+5cr)= 61cr	Weekend- (4days)= 57.5cr
First week- 81cr (+5cr)= 86cr	First week- (8 days)= 76cr
Lifetime- 113cr (+5cr)= 118cr	Lifetime-  93cr

Note: Both predictions are independent of each other’s release.

Predictions of Forthcoming films

SHOOTOUT AT WADALA: The film has got the buzz and the item songs have ensured that the hoi-polloi flocks to theater. The film can have around 9-10cr Day 1 and 30-32cr weekend which will be healthy enough. If accepted well, the film can have a very strong run as there is no hard-core Mass film releasing for next five weeks until YAMLA PAGLA DEEWANA. Lifetime Predictions

Day 1- 9-10cr

Weekend- 30-32cr

Lifetime-

If Good WOM: 80-85

If Mixed WOM: 67-72

If Bad WOM: 55-59cr

GO GOA GONE: The film has perfect recipe for youth crowd of multiplexes. It has something new in its kitty which hasn’t been exploited in Indian cinema before. But after the first promo, the film didn’t come up with anything exciting, thanks to non-pleasing songs! Still, the film can have a decent start multiplexes thanks to Saif Ali Khan’s presence and the novelty factor.

Day 1- 4-5cr

Weekend – 15-17cr

Lifetime-

If Good WOM: 44-48cr

If Mixed WOM: 37-40cr

If Bad WOM: 29-33

AURANGZEB: Shockingly disinteresting, Aurangzeb can be a debacle in terms of opening if the film doesn’t come out with eye-catching promos and songs! Nothing so far has clicked for the film and its just two weeks away from the release! Pull up the socks, team!

Day 1- 2-3cr

Weekend: 10-13cr

Lifetime-

If Good WOM: 31-34cr

If Mixed WOM: 24-28cr

If Bad WOM: 17-20cr

YEH JAWAANI HAI DEEWANI: Hottest film of the season! The film has two A-list stars and Ranbir being a huge crowd-puller for multiplex audience, I see no reason for this film to not have 90-100% occupancies at multiplexes when it opens! Right from the promos to songs, YJHD has buzz increasing manifolds everyday!

Day 1- 11-13cr

Weekend – 40-42cr

If Good WOM: 105-110cr

If Mixed WOM: 88-93cr

If Bad WOM: 73-77cr

YAMLA PAGLA DEEWANA 2: Sequels always has an advantage to open well at ticket window. This one is a perfect family film and will set the cash registers ringing at single screens. At multiplexes it might not do any wonders, though a decent opening cannot be ruled out there!

Day 1- 9-10cr

Weekend : 28-30cr

Lifetime-

If Good WOM: 78-84cr

If Mixed WOM: 62-66cr

If Bad WOM: 53-57cr

Box Office Predictions of HIMMATWALA

Sajid Khan has delivered successes three times before in past and his latest flick HIMMATWALA starring Ajay Devgn, Paresh Rawal, Tamannah looks like another big thing in the director’s pocket. The promos did its role well as the single screen audience is waiting madly for this film. Slated to release on 29^th March 2013, i.e. Good Friday, HIMMATWALA is expected to have a good start.

Opening Day- 13.5cr

If word of mouth is good,

Weekend 1- 40.5cr

Week 1- 64.5cr

Lifetime- 127cr

If word of mouth is mixed,

Weekend 1- 39cr

Week 1- 59cr

Lifetime- 92cr

If word of mouth is bad,

Weekend 1- 38cr

Week 1- 56.5cr

Lifetime- 78cr

Sanket’s Review: “Mere dad ki Maruti” is fun till it lasts.

Cast: Saqib Salem, Rhea Chakraborthy, Ram Kapoor, Prabal Panjabi, Ravi Kissen

Director: Ashima Chibber

Length: 1.40 hours approximately

Set in Chandigarh’s middle class family’s wedding ceremony, MERE DAD KI MARUTI is a film that never quite tries too hard to be funny, and resulting into a good breezy time-pass. The film never takes itself too seriously which reflects in the way story is being side kicked just to imply other elements like that raunchy dance number performed in post-interval portion by the bride in her marriage ceremony which leaves the whole viewing clout in shock and embarrassment including her family, except her mom who thoroughly enjoys it. It brings pain in your mouth while laughing and remains the memorable part of the enterprise. Although, the film as a whole isn’t any unforgettable cinema, but its fun while it lasts.

The film starts on steadily and it never takes its time to construct the premise. In-fact, the film has the story moving along speedily despite a wafer-thin plot. The humor mostly sparks out of the bickering between a good-for-nothing son and his miser, loud father. The moments between Saqib Salem and Ram Kapoor have very conventional dialogues so as to feel the character real and therefore the humor strikes the chord. However, there is Prabal Panjabi as our hero’s buddy who along with Saqib Salem also gives some comical fires like they together did in this production’s last film MUJHSE FRAAANDSHIP KAROGE.

But the film doesn’t holds up post-interval. While the silly story revolves around small time goons like Ravi Kissen or the Car renting family, but the gags put there falls flat occasionally. Slapstick is done charmingly at places, but its more of a situational comedy and therefore the viewers expect a lot more comical exchanges in the plot like we see in regular Rohit Shetty and Pridarshan comic fares. Nonetheless, if not anything else, then the climax will definitely serve you your money back. Its hilariously set and it surely will leave you asking for more.

The film benefits from some energetic songs like “Punjabiyaan di battery” and “Main senti hoon” and also the filmy but entirely elegant choreography of the songs. The dialogues have its lingo set majorly for youthful watchers and the lines are really funny. The cinematography is cool giving us mesmeric early morning views of beautiful city like Chandigarh. The screenplay plays a part in bits and pieces like in that hilarious climax. Ashima Chibber knows her job and she knows how to handle comic portions.

Saqib Salem once again surprises. He has certain charm which displays equal blend of confidence and acting talent and this is what sets him on the right track. Ram Kapoor gives film some of its best dialogues. In one line he says that his son is good example of why other people eat up their own child. Outrageous but relatable that line, it instantly picks you up and throw you in the world of MERE DAD KI MARUTI. Ram Kapoor shines in a role which suits him. Rhea Chakraborthy plays the beauty without brain measure very well. Her over the top expressions will leave you giggling. Prabal Panjabi once again makes his presence feel and he is just fantastic in the scene where he claims that he is suffering from financial clutches.

MERE DAD KI MARUTI is just 100 minutes long, but still a refreshing entertainer. It has a very routine and predictable plot, but it plays on as situational comic affair, and in that it succeeds nonetheless.

Rating – 3/5 (Good)

Sanket’s Review: “Jolly LLB” is ineffective entertainer.

Cast: Arshad Warsi, Boman Irani, Saurabh Shukla, Amrita Rao.

Director: Subhash Kapoor

Length: 2.10 hours approximately

There are few films which carry certain social concern and try to deliver message to the viewers through a story. JOLLY LLB fits in that box because it tries to mark the faults in Judiciary system of the country and tells us how Rich use their influence over the poor people. The message is clear, but not louder! The film somehow doesn’t move you despite some crackling dialogues in finale. What lacks in the film is imagination by the writer which reflects in its incoherent screenplay.

JOLLY LLB takes too much of its time to settle down. The songs put in first half adds like speed-breakers and the unnecessary clichéd tracks like the one involving a Tea stall owner setting his stall outside the court-room and seeking justice for his daughter through a loyal lawyer. These parts hardly add up to what JOLLY LLB wanted to convey. However, the strength of the film lies in some engaging court-room drama. Saurabh Shukla brings numerous laughs at his entry and he suits the role without any miss. The film throws a twist at you just before the intermission which is smartly brought in the tale. But as mentioned, such delight are present in the film but in bits and spurts.

JOLLY LLB takes its flight post-intermission where things get tauter. The courtroom commotions are delicious executed and it keeps the viewers hooked in the narration and serving few laughs too! The verbal exchanges between Arshad Warsi and Boman Irani are logical but Subhash Kapoor knows how to blend it with comic proportions. JOLLY LLBS works well post-intermission because it respects its genre of Comic-satire immensely. The climax has a major twist in the tale, but it’s the unconvincing end in the form of a ridiculous decision framed by the judge to solve the case. It leaves you asking for better one.

The songs are nothing good except for “Daaru peeke nachna”. Nor does the cinematography tries giving you any natural beauty because the film is filmed in and around court-rooms for plenty of time. The dialogues are as sharp as knife especially in the court-room scenes and in the scene where Arshad confronts Boman Irani in his office. The screenplay has some dark flaws which restricts the film’s tone. Subhash Kapoor early gave us “Phas Gaya Re Obama” which was consistently comic and engaging. He does his part well even here as can be reflected in few high-intensity scenes which suddenly goes comical.

The ups and downs in the film restrain the film from being thoroughly likeable. However its contribution from the three leading men which serves JOLLY LLB some of its best bits. Arshad Warsi has terrific confidence and he knows his job too well. He expresses very easily and his comic timing as usual gets high. Boman Irani finds himself constantly on his blackberry, but his attention towards his work is all there. He is excellent when he shows his grey color and also in the finale where he knows something is wrong. However, its Saurabh Shukla who remains surprise of the pack who offers an impeccable performance in a role which has ample of room for him to play his cards! Amrita Rao does well in her emotional scene, but she is hardly there in the film as a whole.

JOLLY LLB is bound with flaws and setbacks in its writing at places, but still it could be bracketed as a nice attempt with three excellent performances. The film tries to pack up many things, but sadly its message is just not effective. In that way, it could be best termed as an ineffective entertainer that promised a lot more. Give it a fair chance like you would give to any other ordinary film, and you won’t be disappointed. But expectations are strict no-no.

Rating – 2.5/5 (Above Average/Decent)

Sanket’s review: “Saheb Biwi aur Gangster returns” isn’t exactly satisfying, though has a high share of positives.

Cast: Jimmy Shergill, Raj Babbar, Mahie Gill, Irrfan Khan, Soha Ali Khan.

Director: Tigmanshu Dhulia

Length: 2.20 hours approx.

Now the prequel to this film that released in September 2011, wasn’t exactly great film, but it had a strong story-line which kept the moments glued and the film engaging. What lacked there was the sort of performances which would have taken film much higher. Apart from Randeep Hooda, no one really managed a noteworthy performance. The sequel has different thing to say. The film has terrific performances but saddles down with the script and screenplay.

The film starts very well with each character being described smartly. But the film drags along a lot with few scenes. Despite of humorous dialogues imposed at most of the places, yet, the scenes in this half particularly look dull. The film goes on and on and on and at-east two times gives you chance to peep into your watch. At 85 minutes first half, there are scenes which could have been easily trimmed. Too much time is given to express Mahie Gill’s bold and seductive character. However, there are few scenes that will leave you in splits like the one when the Politician gets worked up at-least twice, once when he isn’t able to get the adjustment of the webcam and the next time when he is unable to exit while he is watching porn. Also the scene where Irrfan tries to extract a modicum amount of blood out of his finger, with abundance amount of fear gearing him.

Dhulia opens his cards post-intermission where he does just about enough to incorporate plot twists, though predictable at times. The film keeps its pace highly brisk and the real aim of each character is well explained. However the climax may find its share of criticism because it looks unconvincing. It does gives a room for another installment, but the real purpose of the film, that is the revenge genre gets only defeated. Therefore, no real sympathy can be devoted to even a single character despite several double-crossings.

The film has poor music and the item song filmed on Mugdha Godse has no relevance to the plot of the film. The production values are top class to be frank. And the cinematography is simply amazing. It’s eye-pleasing to see the nature captured so beautifully within the story of the film. The dialogues are one real weapon apart from exemplary performances that SAHEB BIWI AUR GANGSTER RETURNS benefits from. The writing however doesn’t exploit the strength of its character. It doesn’t scoop up the betrayal portions with any emotional values. Betrayal occurs and the focus shifts to next sequence. Dhulia however knows the art of direction truly well. The way he handles his scenes is one qualitative mark which he boasts off. The scene where Irrfan Khan confronts Jimmy Shergill for the very first time, tells lot about the sort of credibility Dhulia carries on his shoulders.

Irrfan Khan strikes the chord. He doesn’t only make his character humorous and enjoyable but also gives that menacing shade with equal blend. He is most enjoyable when he stumbles during some of his conversations in the scenes. Jimmy Shergill is excellent as the manipulative, selfish, lovable Saheb and he does his part with sheer energy. Unlike the previous part, Jimmy handles the intense situations amazingly. Mahie Gill and Soha Ali Khan are efficient although they look weak in the same frame as the two men.

The writers couldn’t make up where the film should head. From bedroom politics, to betrayal, to revenge, the film travels along everywhere, but without any purpose solved. That leaves you dissatisfied despite its high share of positives coming from two staunch performances, several excellent moments, engaging episodes from second half and the smart wit in dialogues. Go in, you won’t be bored, but make sure you don’t expect anything memorable.

Rating- 2.5/5 (Above Average/ Decent)

Sanket’s Review: “The attacks of 26/11” is well executed film.

Cast: Nana Pathekar

Director: Ram Gopal Verma

Length : 1.55 hours approximately

Tapping on the real life events of Mumbai’s 26/11 mishap, this weeks new release THE ATTACKS OF 26/11 directed by Ram Gopal Verma is engaging, thrilling and emotionally grounded. It’s a film that’s far from perfect, thanks to countless irrelevant slo-mos that are depicted that brings down the momentum. Yet, it’s a pat on the back of RGV who successfully manages to give us a bird’s eye view on the whole terrorist attack. In just 115 minutes we are served with the entrance of terrorists to Mumbai till the execution of Ajmal Kasab. Narrated through the eyes of Nana Pathekar, the film enjoys a bumper advantage because its tracking the incidents which are real and thus very familiar to the audience. And thus, it won’t really take any extra effort to create tautness among the viewers.

The film straight away starts with the major portions. Although the scene at the ship is too dragged and stapled with loud background score, yet we are anticipating the next reel. Just when the first bullet is fired, this film goes on a new high. The episodes are thrilling and shocking. It might dismiss you the fact that there is very noisy bullet firing and might struck at your ears. But it definitely gives the authenticity constraint a boost that it required. The direction by RGV is very conventional and routine. His camera flocks around the people, just to derive emotional interludes, who are soon to be the victims of the attacks. Frankly, such gimmicks are too redundant to use in today’s films. The episode of attack at Taj Mahal Hotel is too long with too much of time wasted to make the film cinematically enthralling! However, the episode of firing at CST station

The second half is more engaging, especially when the terrorist is caught by the police officers. However, it’s the last 20 minutes where THE ATTACKS of 26/11 makes its mark. The scene where Nana Pathekar confronts the character of Kasab is highly nail-biting. Also the scene where Nana Pathekar in a horrific mood tries to give Kasab a lesson of religion and humanity will keep you numb. Its moments like these where RGV strikes gold and displays sheer amaze at helm of direction.

The background score is outstanding at times. The screenplay is sharp especially post-intermission, but there is large amount of benefit the writers take as its just research that would take them to make a riveting script. Yet, they never fail to inject cinematic conjunctions between one after the other scene. The dialogues are fabulous, especially towards the end. The dialogues mouthed by Nana Pathekar are clap-worthy and evokes sentimental affiliation.

It is Nana Pathekar, who unimpeachably, remains the soul of the film. He is energetic in his scenes. Be it the confrontation moments or the narrating sequences, he gives a much required support. An excellent performance there! The character of Ajmal Kasab may have very similar looks, but his acting is so puerile that he manages to bring laughs, that despite he is in such terrifying phase, when he is giving his monologue on his religion.

Still, it’s a film you must watch if you are interested in how’s and where’s and when’s of this shocking, inhuman terrorist attack. It’s a well executed film by the director who isn’t really in the form, but yet manages to extract fabulous performance out of Pathekar and also does extremely well with his camera too. Yes, some flaws do come across but these are few and far between.

Rating – 3/5 (Good)