The power - Il potere

This is a movie that is worth watching for Nana and Karishma.Both have done a superb job.Karishma is in top form after giving great performances in Raja Hindustani,Dil To Pagal Hai,Biwi No 1 and Fiza.Karishma shows in every emotion and feeling.After Sridevi in Laadla i have never seen an heroine putting on such anger,emotion at the same time.This is her best performance.Nana is also excellent though he and Karishma goes over board at times.His dialog delivery is superb for no doubt with lots of gray shades.He gave a knock out performance in the climax.Though he is completely superb.The kid though is cute is passable.Deepti Naval is fine as the mother.Her confrontation with Nana in her final scenes is note worthy.Sanjay is passable.SRK is pathetic.His dialog delivery is incredibly pathetic and he hams.Though a fan of Shah Rukh myself.I felt that Salman Khan could have suited that Roley more because he is the bad guy of Bollywood.Tiku Taslania and Jaspal Bhatti are wasted

The movie is bloody but different.OK,i know there is a lot of screaming,yelling,vulgarity,over the top acting that you do want to fast forward.Some are sick through.i do feel like vomiting.Direction is great in some scenes but mediocre at the rest.Characterisations are powerful at times yet a little sketchy.Dialogs are passable.editing could be better.Camera work is average.Foreign locales are nice.the first few minutes are boring but once Shekhar hears the news the movie really becomes interesting

Songs are forgettable.The saving grace the catchy Ishq Kameena.

Sridevi has done a decent job.As a fan of Sridevi i request her to stop producing movies because she is average as a producer.Krishna Vamsi has done a decent job with this and so does Boney Kapoor.The movie title means power.It has some power but enough of them power it required.Give it a decent watch

Well, I'll be honest: It is not exactly a Sholay. But you cant get a Sholay every week. In fact, you could see distinct signatures of "not without my Daughter"(Sally Field, 1991) in this movie. However, as most "inspired" movies go, this one was a well-inspired one, well handled and well done. Nana Patekar, as usual, tends to overdo his hysterics, but all others are commendable. Specially so about Dipti Naval: Saw her after a long time, but she hasn't lost any of her grace. In fact, she has performed much better that when I last saw her. Another one of the Bollywood stars that seem to grow more beautiful as they age?

All in all, a nice watch.

This is probably Karisma at her best, apart from Zubeidaa. Nana Patekar also gives out his best, without even trying. The story is very good at times but by the end seems to drag, especially when Shahrukh comes in the picture. What really made me like it were the performances of the leads, the dialog delivery, as well as the story, for what it was. It could've been directed better, and edited. The supporting case was even great, including Karima's mother in law, even though she just had one shining moment, it was great to watch her.

The sets were also pretty good. I didn't really like their portrayal of a Canadian family, but once they step in India, it's as real as it gets.

Overall, I would give it a thumbs up!

Not gonna lie, there will be a lot you'll have to forgive to get to the good parts of the film. Overlook basic flaws like Rajasthani location and costumes for a story set in Bihar, skip forward the songs and you'll see it as a bold depiction of jungle raj in rural India at its peak, with the term also being used at some point in the film.

I started watching it just to find a particular scene I'd seen by mistake on TV as a kid (wasn't supposed to watch an A rated film. This was the scene where Nana keeps calling Karisma a "Maddum" for being a misfit in a village. For some reason I remembered Nana eating a pigeon but thank god I misremembered!!

Seeing this movie was the most fun I've had at the cinema in a long time. However, I am not able to say whether this is a good or a bad film, because such simple qualifications simply cannot be applied. This picture has everything any movie could ever have. It has characteristics of a romantic comedy, a political commentary, a thriller, a drama, an action movie, a musical, and an absurdist self-conscious art film. It's all in there, adding up to a myth.

The basic premise is about an Indian couple, Nandini (Karishma Kapoor) and Shekhar (Sanjay Kapoor), happily living in Canada, who rush to India to visit the husband's parents after a disturbing news report. The rest of the story takes place in India, where the couple find themselves in the midst of a plot of fratricidal violence. At one point, the story borrows from "Not without my baby," but to call Shakti a remake of anything would be an injustice.

The ostensible story line takes a backseat to a number of astonishing interruptions, including Shah Rukh Khan's dream of Aishwarya Rai which comes as if out of another movie. In fact, the two stars are on all the posters, but they appear really late in the film, and only Shah Rukh ends up being a real character. Yet he makes up for it with a spirited and truly unexpected performance.

Karishma Kapoor is the one with most work to do in this film, and she does an admirable job, having to link up the film's twists and turns with a show of believable emotion. Another notable presence is Nana Patekar, who plays Narsimha, the tyrannical father of the husband Shekhar. Nana Patekar dominates every scene he's in with a scary but nuanced character.

The movie is not without its share of realism. Violence is rampant, but truly disturbing in the abuse received by most of the female characters, with Karishma getting soundly beaten on a number of occasions. At times, this violence is clearly disturbing but ultimately it becomes surreal as every dramatic sequence is usually followed by such comic and spectacular turns that the overall effect is nothing but cathartic.

I have seen a share of Bollywood releases, and the mixing of genres and incredible plot resolutions are certainly their norm. But "Shakti" raises the bar by absorbing an even greater masala without becoming ridiculous. It is a film that achieves the grandeur of a Shakespearian tragedy, where the audience of the rabble and royalty is equally entertained. It is pure, gratuitous cinema, and the director Krishna Vamsi must have had a dream of a good time by throwing in every trick in the book. Perhaps, the all-important message of violence begetting violence and the inspiring extents of motherly love were not the thoughts on my mind, but I came out of watching "Shakti" exhilarated. Making movies can be the most fun in the world!