mohanish58

I couldn't bear to watch even 10 minutes of this show. None were prepared or talented enough to pull this off. But there are learnings in everything. This show made it utterly evident that Kannan, Kenny, Kaneez and Abish are not funny or witty people in real life. But their practiced standup shows do so well! It gives hope to people with poor/average skills - practice (and probably a LOT OF editing) can get you places.

This is my first ever review on IMDb.

After watching Revolver Rani ("RR"), I can be sure Sai Kabir (writer, director) had been looking for a producer like Tigmanshu Dhulia for a while. This is a work straight from the heart and feels like it too!

The story of Revolver Rani, Alka Singh (Kangana Ranaut) takes place in India's dacoit heartland Chambal, where law has seldom held up. All characters have enough reason to be in the movie. Performances are up to the mark. The dialect spoken by the actors seems authentic. Starting with Kangana - she has played one of the most audacious female leads in Hindi cinema and has come away with flying colors. Vir Das plays the meatiest role of his Bollywood career in aspiring film star Rohan. His character adds most twists to the plot than anything else and thus is a very important one. Piyush Mishra has played many memorable roles by now and his role as Alka's mama in RR as well his contribution to the writing department will not go unnoticed. His character even writes speeches for politicians in the film, which is a tribute to his writing ability, as it was with Mishra's poetry scenes in Gulaal. The other baddies draw your resentment as required.

The music does wonders for each scene - it heightens the drama, transforms wee Kangana into stupendous Alka, draws laughs from scenes with dark characters and many more. Usha Uthup's voice seems to be only female voice bold and deep enough to tell Revolver Rani's story, like it does in the opening credits. The opening credits animated scene (similar to that of Bullett Raja) is so cool, that my wallpaper is now stolen from it. In fact, I have found in Dhulia-produced Revolver Rani what I went looking for in Dhulia-directed Bullett Raja.

This is the kind of story which deserves more than one film as its characters can actually do so much more than they did in RR. My suggestion is - make a sequel, no, a series... and print some Revolver Rani graphic novels too while you are at it! That is, if those bad guys let the much cussed-at Alka live in RR.

They had to break some day. Those rope of morality, sanctimony and congeniality which had tied down so many of India's almost-awesome films have been cut open and the authentic urban Indian (who does hurl a few abuses here and there every day due to the misfortune happening to him) is now free thanks to Aamir Khan and Abhinay Deo. Still, Delhi Belly is fine filmmaking mostly due to the makers' unabashed vision and the decision to let no stone unturned in making this comedy.

To start off, Ram Sampath's mind-blowing music in the promos is what brought the first batch of audience to this movie and it has some really wacky numbers (Bhaag DK Bose, Nakkadwale Disco and Bedardi Raja to name a few). On the actors' front, Vir Das portrays his pitiable character perfectly. Imran is in a dream role and this could be his best act ever if he continues to do movies like the ones before he did Delhi Belly. Kunal Roy Kapoor's problems with gastric motions (after which the movie is named) bring down the house more than once. But it's Vijay Raaz to whom most of the misfortune happens and he, therefore reacts like a truly enraged gangster would and gives us a lesson or on how swear words are meant to be really pronounced. Purna Jagganath is the find of the film and could be Bollywood's first really non-traditional looking heroine. But still, am I the only one who found her cute?

Once Mr DK Bose (the story) begins to 'bhaag' (run) in the beginning, it hardly stops even after the end. Such is the flow of the movie that even when you're laughing your ass off to any one of your preferred situational jokes, you hardly miss the link to the next scene because the story is simple enough to be a 96 minute movie. Great storytelling by Abhinay Deo. As a bonus we're treated to a never-before item number by Aamir Khan in the end, along with some food for our ingenuity-hungry mind throughout the film.

Like all of Aamir Khan's house productions, Delhi Belly is an important film in Indian cinema history because the success of this film will directly measure the immeasurable: how much have our minds really adapted to the next generation mentality. And what all comedy filmmakers should learn from Delhi Belly is that Indians have brains not just while doing math but while watching movies too.