New York

Truly this movie delivers what it promises. It starts with a bang (literally) and keeps the audience at the edge of their seats! I liked the fact they didn't push any unnecessary songs into the movie. The acting was amazing. Neil Nitin Mukesh, John and even Katrina, did a fantastic performance. Hats off to Kabir Khan and Sandeep Srivastava for writing such a sensitive topic. I liked the fact that this movie wasn't all "anti America", nor was it to show sympathy for terrorists. The movie states the facts and shows each side of the issue. There weren't any music nor song that really captivated much of my attention, it could've been much better. Overall, I would definitely recommend everyone to watch this movie for both the performances and of course the story.

Kabir Khan's 'New York' is nothing but a masterpiece.'New York' has truly delighted me.I don't know why i'm even giving this comment.This movie cannot be described by mere words.People always criticize Bollywood movies because of the lack in realism in them, but 'New York' is so realistic that everything in the movie feels like 'real'.The acting of every actor in the movie is commendable.Songs are used only when they are required.Everything about the movie was just perfect.I have always liked John Abraham, Neil Nitin Mukesh and Irrfan Khan but I had a feeling that Katrina might spoil the movie, but her performance left me speechless.After a series of dull and boring movies in 2009, New York came and changed everything.I must say that this is the movie we were waiting for.

New York had the effect that a movie like Taare Zameen Par had: not expected much, yet looking forward to it, because it's the first worthy movie that has come out after the much-agonizing 2 month movie ban. The cast was top class: Niel Nitin Mukesh of Johnny Gaddar fame, Katrina Kaif of the Singh is Kinng fame, and John Abraham of the Dhoom fame. Not to forget the return of Slumdog Millionaire's Irrfan Khan, again as a police officer, no, wait, the FBI.

Three friends, ready to face the world... and then the world changed. This is the tagline. It was New York that had changed in the movie. The world was nowhere in sight. The script was good, light and humorous. Katrina's performance was amazing, considering that she doesn't know how to act. John was Good, and for a change so was Niel. Irrfan had that humorous touch in his voice that many love.

The direction is smooth, but too much slow motion at times. The cinematography is mind-blowing. Everything is beautifully captured. Editing is also smooth. The soundtrack is good, specially the Hai Junoon track. Thank god there are no dance sequences. They would have totally spoiled it up.

New York is one of those movies that tried very hard to strike a message, but fails. Don't get me wrong: the movie is not bad. It's another good film under the Yash Raj Banner, and it almost fully satisfies the movie-hungry person who has been hungry for 2 months, but, like Rang De Basanti, it's not able to strike a chord as a movie of it's genre should. What they've shown is fact, no doubt, but doesn't feel true. Maybe that's why. There was something lacking in the script, I'm sure, though it's really not spot-able!! I gave it a 7/10, because it didn't work that good for me. But I'm sure many will give it an 8, 9 or even 10. I'm hoping it's average to linger in the 7 point somethings. Not below that. Happy viewing.

First, we should all applaud any popular entertainment that takes on the crimes of the recent American past. Here is a (largely worthwhile) Indian effort that is too far to the implausible end of the spectrum for my tastes. But it also has a political blind spot that makes it troubling and not only a bit foolish.

The part I found troubling is the way the US is defended. The filmmaker succeeds in making terrorist sympathizers of the audience, then lamely states the US case with totally unconvincing platitudes. The US government relentlessly behaves in a brutal and unapologetic manner throughout the film, and is then defended with a line like, "People make mistakes. Countries do, too." Well, if my wife made a mistake as severe as the US makes in this movie (drawn heavily from the headlines), she darn well better apologize or I'm gone! But do the Americans apologize? Have Americans ever apologized, i.e. the way Kevin Rudd did recently? There are MANY films that deal with these moral/political issues far better. The Bollywood epic "Mission Kashmir," for all its Bollywood silliness, does a far better job. The outstanding Indo-American film "The War Within" is my favorite of these issue films. And any of the movies of Mani Ratnam show how a popular entertainment can also be smart.

This spat between the Bollywood producers and exhibitors have finally come to an end for now, and this Aditya Chopra produced film becomes the first off the blocks locally, and what more than a summer film that had its promotional trailer playing since late last year finally being able to see some light, starring some of my favourite Bollywood stars like John Abraham and Irrfan Khan.

I had been impressed by director Kabir Khan's debut feature Kabul Express, which also starred Abraham, and Khan has a knack for drawing the audience into contemporary social issues, given his journalist background. For his two features to date, he has crafted tales around the issue of terrorism, not to glamorize it, but to tell the more human aspects into what probably were the push factors for someone to go off the edge and succumb to the notion that violence is the only means available to justify their cause. And to do so without draping the film in melodrama, or with sympathy in excess.

In Kabul Express, we look at the background of a Taliban soldier who in frequent role reversals, become both the captive and the captor, with a moving story as to what made him do the things he did. In New York, a similar strategy applies in addressing some post-9/11 issues where foreigners were profiled and held in detention, finally being released in months or years because of the lack of evidence. If Bollywood constantly draws inspiration from Hollywood, then the film that had dealt with similar themes would be Rendition, and a smattering of Crash thrown in as well.

The film spent its first act very much closely resembling that in the trailer, which dwells on the lives of three good friends who met at the New York State University, Americans of Indian origin Sam(ir) Sheik (Abrahan), Maya (Katrina Kaif) and an Indian student on a scholarship Omar (Neil Nitin Mukesh). Having two guys and a girl translates to a romantic triangle brewing, where Maya drifts toward the more down-to-earth Omar, but having her heart already firmly set for the arrogantly confident Sam. It's like a teenage college romance with a lengthy musical montage just to cement their fast and strong relationship, until declarations from the heart, and 9/11 come play a part to separate them all.

To tell you any more would be to spoil the fun, because the story takes an interesting narrative structure in keeping you guessing who's turned to the dark side, and who's not; who's lying and who's telling the truth. It has intensity almost close to that in Infernal Affairs, where you wonder just who might turn because of the allegiance to friendship. You can imagine how you would feel if you're asked by the authorities to work undercover for them just because they have something against you, and you're to cooperate for leniency or face the music - what would you do to save your own skin, and if it calls for covert surveillance of your friends, would you do it? Irrfan Khan's Roshan is an FBI agent because of his roots and ability to connect with his "brothers", and this comes fairly accurately as the US agencies had begun to ramp up its recruitment of non-native English speakers so that they can gain keen insights from surveillance to things like translation. In fact, the Roshan character was dangerously close to being a clone of Irrfan's Slumdog Millionaire turn, especially at the interrogation table in having to fish out the truth. Neil Nitin Mukesh had more of a dramatic challenge with his role as the freshie Omar compared to his action role as a photographer in Aa Dekhen Zara, while John Abraham looked very much comfortable with his self-assured character given his alpha-male persona. Despite being one of the most photographed actresses/models in India, this film would mark my first watching Katrina Kaif in action, and I guess beautiful women get no love from female audiences who are there to root for the two male leads.

New York struck a fine balance between drama and action, devoting time to each primarily before and after the intermission. It may not be the first film that dealt with the terrorism issue on US soil, but it did enough to continue the awareness that sometimes certain policies stemming from acute paranoia just don't work, and may become that self-fulfilling prophecy that would return to haunt you. Between Kabir Khan's two films, I still prefer the former, but that doesn't mean that New York isn't worth a shout out.