Barah Aana is a comedy of real life set in today's Mumbai. The story revolves around three unlikely friends: a driver (Naseeruddin Shah), a watchman (Vijay Raaz) and a waiter (Arjun Mathur). The driver is an older man, stoic but dependable. The watchman, in his 30's, is a pushover at work but otherwise mischievous. The waiter is a young, swaggering chap, brimming with ambition. Living together, their different attitudes make for an interesting banter.At some point, misfortune befalls the watchman, and due to a series of chance events, he stumbles into a crime. Striking upon a seemingly low-risk way to make good money, and discovering a new sense of self-confidence, he tries to entice the others to join him in a series of such crimes. Cat and mouse games ensue between the three as personalities change, but events soon spiral out of control, leading them in a direction that none of them had ever wanted to take...
Kal X A (es) wrote: From 1988 to 1991, The Stone Roses re-defined British guitar music in a way that has made every band since their halcyon days have a bit of the Roses' blood in their music. I had been expecting a tribute film of The Stone Roses for quite a few years now after finding out their astounding influence, but Spike Island definitely threw me for a curve-ball. First off the film tries to set itself up as an established coming-of-age flick in a style not unlike parts of The Breakfast Club with the Roses' music acting as the supporting story arc to drive things forward. The film for the most part takes place in Manchester in the Spring of 1990 when the Roses were at their cultural zenith which is shown by the clothes, the imitations of John Squire's paintings and the fact that almost every male character in the film has either Ian Brown's or John Squire's haircuts with Reni's hats making frequent appearances. The plot line is fairly simple; five lads can't get tickets to The Roses' seminal Spike Island gig so they decide to journey there anyway and get in any way possible as Elliott Tittensor falls head-over-heels for Game Of Thrones' very own Khaleesi Targaryen dragon queen Emilia Clarke who portrays Sally Harris with the film taking an unexpected turn into a romance after the Spike Island chapter closes with Tittensor and Clarke's characters surprisingly remaining together by the time the film ends without any fights going on between them although the same cannot be said for Tits and Nico Mirallegro's character Dodge.These modernized period pieces have been occurring a lot in the past few years with England wishing to re-live the nineties and late eighties being one of the biggest aggressors of this. The new adult generation desperately wants to relive the Cool Britannia period of the late nineties with Britpop, Camden Street, etc as it was in the supposed glory days and it seems that the early 90s Manchester movement has now also fallen victim to this nostalgia craze. Despite the film having a few redeeming moments throughout, one may wonder through all of this how long it will be until a similar film revolving around Radiohead or The Smiths appears. It can't be long now.
Huey L (gb) wrote: Definitely not a movie that will be remembered as a classic. It resembled more of a borderline cheesy B flick.
Eduardo N (us) wrote: Its very cool and funny
Cliff M (mx) wrote: I actually love this movie, yes the tone change maybe jarring, but it brought Daredevil to life as I saw him in the comics. It's failing was trying to make it like Batman, when Daredevils strengths should be to make it different.
Larry W (ag) wrote: In an attempt to blend mafia and western films, we get Fistful of Dollars set in the 1930s. Unlike Django, which also stretches the concept of the western to it's elastic ends, this film was far less original or inspired.
Stephen E (kr) wrote: Based on a series of detective stories from novelist Lawrence Block, "8 Million Ways to Die" is a curious little crime thriller from director Hal Ashby and writers Oliver Stone and David Lee Henry centered on alcoholic ex-cop Matt Scudder (played by utmost commitment Jeff Bridges, who never seems to be giving less than a hundred percent in his roles) as he is dragged into the sleazy underworld of drugs and prostitution. "8 Million Ways to Die" is gritty, full of coarse language and pretty entertaining, but it runs out of steam halfway through, leaving us with an unremarkable second half and an even more unremarkable finale. (The climactic shootout is an embarrassing mess of bad cuts and poor staging.) It's a real shame because the first half is so promising and Jeff Bridges is so good as his character that when the film starts heading downhill with a surplus of tired clichs, cheap dialogue and subpar filmmaking, we're left hoping that it will eventually get better, but it never does. So, what we're left with in the end is a film that had the potential for greatness, but fell disappointingly short.