BREAKFAIL-Review

It's important to deliver what you promise. The heroine,heros and director himself claimed  & promised for a good laughter with BREAKFAIL . And what, after watching the film, you realize that the makers do deliver a film which offers some entertainment.

Throwing logic to the winds and employing every trick in the book of cinema to woo the moviegoer,Shankar Ghimire churns out a film that's enjoyable in most parts.

Yes, discrepancies do seep in, especially in the post-interval portions, but the glitches and blemishes can easily be overlooked since the makers never promised earth-shattering and path-breaking stuff in the first place.

Treat this film as an entertainer, without taxing your brains, and chances are you'd enjoy the film thoroughly!

BREAKFAIL is all about cheaters and the funny tragedies they cope with.


In terms of plot, BREAKFAIL doesn't offer path-breaking stuff, but sometimes there's more to a movie than story and this is one of those rare occasions when all the other elements pull together and lift the production. Frankly speaking, BREAKFAIL doesn't bore you and it delivers fun to your 2.10 hrs sitting time. It has some enjoyable moments, some uncooked jokes and popcorn entertainment.

Wait, there's another reason why BREAKFAIL works

Comedy isn't all in the material. Having funny lines and amusing gags is only half the battle. The rest is in the delivery and that's where the actors [Subash Thapa, Bimlesh Adhikari and Richa Ghimire ] excel. Some of what's found in BREAKFAIL is laugh-worthy also because of the way in which the actors emote and react.


The story revolves around Prayash [Bimlesh], Kosish[Niraj Baral], and Rashi [Richa Ghimire] -- three cheaters hang around  by their child-like notoriety, pig-like ambition and pretty business of conning people for fast and easy money. Rest is a funny ride of their not so funny adventure.


Directorially, Shankar Ghimire has not only shot the film exceedingly well, but has also concentrated on making each and every sequence thoroughly entertaining. Despite a feeble writing, Ghimire has tried to please the audience to toe.


Satya-Swroop's music is just about okay. The tunes are functional.


The background music (Rajan Ishan) is not much effective and doesn't enhance the impact of dramatic scenes. 


Cinematography [Raju Bickram Thapa] is excellent. Hats off for his believe in SOFT lensing.


BREAKFAIL is embellished with mixed performances and the best part is that the director has cast fresh actors who have shown their sincerity to their act. Bimlesh Adhikari is incredible, displaying his (Sometimes Loud- but ok) acting skill to the T. Subash Thapa - one of the most accomplished actors of the new generation,and his  versatility is more than evident - he acts like a buffoon when required, but breathes fire when the situation demands. Niraj Baral needs to work on his expressions. Richa Ghimire looks sultry, loud and very competent with this one. Rajesh Hamal is just a statue - fails to impress.


On the whole,BREAKFAIL has mixed possibilities . It'll appeal to those who enjoy light entertainers and also those who has grown seeing mindless comedy. But it won't appeal to those who feed to hardcore masala-entertainers. At the box-office, it will be a losing propositions mainly for the investors for it has no Big stars.


3 ON 5STARS
feel free to comment
JAI CINEMA

Bhushan Dahal making a comeback

Bhushan Dahal is a hot property in all leading national and international news for now. While in his research for an upcoming film (after a hiatus of KAGBENI), he found all those antic weapons of historical importance , have already been sold in a cheap price over seas ; which is said - was in under  supervision of Nepal Army. This news broke out in Kantipur T.v 's highly viewed Fireside and it then topped all the headlines today.Those weapons were of NEPOLEAN BONAPARTE's time being .

To our close source to Dahal, he is currently busy for a historical film on NAALAPAANI war

K YO MAYA HO -REVIEW

Really big expectations? Oh yes! With seasoned actors [Aryan Sigdel,Saugat Malla] at the helm of affairs and Sudarshan Thapa in the director's seat, K YO MAYA HO is expected to strike like a hurricane.

Let's come to the point straightaway. Don't look for a story in  K YO MAYA HO. For, there's none here. What you get to see is a collage of frustrating moments. It's not one of those conventional prem kahanis that have the lovers drifting apart or a misunderstanding creating havoc in their lives. 

What goes against the film is the fact that you feel a vacuum at the end of the screening. EXPECTATION is amiss. Sure, you are enamored by the gloss for some few reels. You are awe-struck by the stunning locales of JOMSONG and Pokara, and Ghandruk. But, deep inside, it doesn't satiate you. 


To sum up,  K YO MAYA HO is all money, no substance. Body beautiful, minus soul. Being fair to it -This is, unchi dukaan, phika pakwaan. 

Fed up  of her landloars, SITA (Sushma Karki) is runing her life dreaming a different flat for her. Fed up of his landlady and her daughter, Ram(Aryan Sigdel) is dreaming a different flat for him. Now both working in same office (What for-unknown), alongside best friends Shayam (Saugat Malla) and Gita (Arunima Lamsal).

Annoyed 24*7 both decide to share a flat together and audience have two and half  hours to kill. Perfect setting for the start of a love-story. Hitch? Badly written screenplay and unwanted characters who keep poping out of nowhere.

Director Sudarshan Thapa then takes us to a journey which is very complicated to comeout of. Actually, come to think of it, you do enjoy just a few songs in this 14 reeler. But can you stretch a rubberband beyond a point? That's what the writer does.

Writer Niraj Vikram Shah's screenplay is as taxing as driving in monsoons on a road full of potholes. When you realize the film offers no story, you sit motionless, flexing your facial muscles at times, but remaining indifferent to the goings-on generally. The director and writer have side-kicked the script with some stunning visuals and toilet humor moments. But that's no compensation. Sugam Pokharel's music is quite good. 'Sara Sara din' is the track you carry home. The title track is another fine composition. Cinematography is not upto the mark. And who says cinema is all about FOCUS in and FOCUS out. Darling it's a serious and itching business.. Choreography [Samrat Shakya, Raju Shah, Anup Koirala] is not worth to mention, but your eyes stays on locales of the songs picturesque. Neelima's costumes are smashing and I couldn't believe same person does a bad art direction. ALAS, girl!
K yo Maya Ho belongs to Aryan first and Sushma's next. Saugat Malla is relegated to the backseat ,a waste of talent. Please stick to good script broda. Arunima Lamsal looks retiring soon. 

Anurag Man Singh (as BABU don) should have rather controlled his over acting halfway the film, otherwise, he is a good.

On the whole, K YO MAYA HO is no patch on Sudarshan Thapa's previous film. The film is all Money, no substance. Body beautiful, minus soul. At the box-office, the all-powerful Sudarshan/Aryan  brand coupled with the lack of biggies will ensure substantial revenue for its producers/distributors in the initial days, proving that sometimes, a bad film also makes money. But it will not remain same after a week.


1.5 stars
feel free to comment
JAICINEMA

The Tree Of Life - Movie review

There are three possible reactions to The Tree Of Life. The first is love for the sake of it.

Many will recommend it to you on the basis of glowing reviews on the Internet, and the fact that this movie bagged the top prize at the Cannes Film Festival earlier this year.

Critics will wax eloquent to you about Terence Malick's impressionistic style, the movie's indelible mise en sc ne, and how it grows on you like a fine wine (or, well, a tree).

Not wanting to seem like a philistine, you will nod along and, in turn, do the same. Add it to your 'Movies I Like' list on Facebook, discuss it with friends and so on.

The second is outright hate. Unsuspecting viewers, lured into theatres by the words Brad Pitt, Sean Penn and Cannes, will walk in expecting a tearjerker about an estranged father-son duo.

They will not expect a formless, improvised movie that has the attention span of an imaginative 6-year-old.

They will not expect a movie set in 1950s American suburbia about the O'Brien family to have a scene featuring two dinosaurs, wherein one lies injured on the side of a shallow river, and the other kicks it a couple of times before trotting away. They will search in vain for a narrative, for some semblance of a story, and find nothing.

This is a polarising film, and if film critics at Cannes could boo it, so could Indian audiences.

There is a third possible reaction, however, to this film, and that is awe. Awe at Malick's uncompromising vision and his nearly contemptuous disregard for linearity or conventionality.

Awe at his persistence in developing the concept for this film over decades and spending nearly three years filming after studio execs told him he was 'crazy'.

Awe at the jaw-dropping visuals Malick shows us: the birth of the universe (the Big Bang, with subtle visual cues that draw parallels to the process of fertilisation in humans), stars colliding, oceans rising and falling, microbes multiplying, cells undergoing mitosis and meiosis and so on and so forth.

What does it all mean? The story starts off with the O'Brien family mourning the death of a son at only 19. Jack (Sean Penn), an architect who works in a tall, swanky building, calls up his father and confesses that he still thinks about his dead brother.

We are then transported to Jack's childhood where we watch him learn to take his first steps, speak his first word, feel jealous of his new baby brother for hogging his mother's (played by a luminous Jessica Chastain) attentions and eventually grow up to become a sullen teen.

We watch his father (Brad Pitt in a powerhouse performance), an inventor who gave up music for practical reasons, discipline Jack and his brothers with a firm hand.

He's violent and abusive, while Jack's mother is kind and almost child-like. This is a film about life - anybody's life - and all that comes with it: love, laughter, growth, anger, sadness, pain and death.

The Tree Of Life is a difficult movie to watch. It demands constant attention and a deliberate desire on the viewer's part to suspend all established expectations from the medium of cinema.

Yet, for all its gravitas, one can't help wondering if Malick has indeed made a highly personal (Jack is partly Malick's own alter-ego) and philosophical cinematic portrait or if he's just being self-indulgent.

Surely there is a way to put across the whole 'life goes on' philosophy in a manner that's less random? But hey, that's life.