We have: A wife who didn't ask her husband about his home, parents, or anything, before their marriage, and after years of it too. A husband who takes his wife and child to one of the most horrifying spots in India, while he could've (it's: he should've) travelled alone. In a hell of bullets, explosions, and massacres, the husband chooses to sleep with his wife outdoors. A car explodes, and everybody in it dies, except one guy inexplicably. A wife who does nothing but crying, running, crying, running, then crying again. A loyal henchman who kills his boss's daughter just to make way. A bunch of thugs, who already have guns, fight one unarmed man, who they seriously hate, with only sticks. The same unarmed man gets shot right in the middle of his back, then fights 10 men bigger than him with his bare hands, wins them all, runs after a train, catches it, saves a women and her son, fights again, kills all the bad guys, then finally dies out of his injury (remember it?!). Yet nothing in the world can outmatch the ending; where one of the toughest men ever appeared on screen turns into a complete idiot who stops chasing his late son's wife after numerous bloody pursuits, leaving her in peace, out of the blue, AND FOR NO REASON AT ALL!!!!!!!!!!!!!!!!!!!!!!!!!!!
In some movies I forget logic a bit, but this time I regretted to do it, then became incapable of doing it anymore. The scenes of (Karisma Kapoor) crying are free and endless; many times I felt that the director should yell cut, but strangely he didn't. The father-in-low was enjoying beating up his daughter-in-law in non-stop way which assured that the director was the one who enjoyed it the most. The character of (Shah Rukh Khan), which reminded me of the young (Amitabh Bachchan)'s roles, turned out to be the most disappointing cameo ever. I thought he would be the lead, instead of (Sanjay Kapoor) who played the husband, but I was painfully wrong. Speaking of (Kapoor), he was awful as a presence or performance; OH MY GOD, how annoying he sounded while trying to call his family, or convince his father to stop killing. Now this is not an angry idealistic guy; it's a highly frenetic neurotic. (Nana Patekar) is wasted in nonsense, his last scene is the worst thing he did, or any actor could have done. Well, the whole third act is a fine cinematic interpretation of "random". While the board of "The End" showed suddenly - it is one of the most surprising indeed - I had a big hysterical laugh, being in denial, to laugh again continuously. Believe it or not, I kept laughing even in my sleep!
To make matters worse, there is a shocking, totally unnecessary, sex scene between the wife and the husband. Even if it was brief, why to include it in the first place, since we all know that the wife loved her husband unquestionably. The sole reason was spicing things up, however by imitating the cheapest of Hollywood. The same can be said about a long kiss between unknown man and woman in a Canadian street, or the first scene which is nothing but many shots for (Karisma Kapoor) stretching in her bed. Mercifully, the TV version deleted all of that, so the movie became less tacky.
I asked myself a lot what this movie exactly is? Is it inspired somehow from the American movie Not Without My Daughter (1991)? Is it an Indian western? At one moment, I ended up considering it a cross between pure violence and outrageous comedy. Look at the supporting actors' crazy performance, the choppy action sequences, the shrill and extreme everything--they're all super hilarious. Maybe the makers of it wanted basically to make a thriller action, but their gaudy style transformed it into a comedy. Like when we watch the husband dies, then - abruptly - he sings and dances after his death. However, to tell you the truth, it is not an action, a thriller, a musical, or even a social commentary. It's a huge savage cartoon, a commercial fatuity, and a flood of silliness. In a word, this is a frank shame, and you have to see it to believe that this actually exists, and being made with big budget, and proud artists. By its end, I felt embarrassed, while not someone, but "some ones" else should. I don't know how these artists can face people again. But according to their very movie, they don't lack the impudence!
(Shakthi: The Power) has a lot of reasons to be one original balderdash, or - at best - one of the longest horror comedies. So, laugh out loud, if only you can stand it!
In some movies I forget logic a bit, but this time I regretted to do it, then became incapable of doing it anymore. The scenes of (Karisma Kapoor) crying are free and endless; many times I felt that the director should yell cut, but strangely he didn't. The father-in-low was enjoying beating up his daughter-in-law in non-stop way which assured that the director was the one who enjoyed it the most. The character of (Shah Rukh Khan), which reminded me of the young (Amitabh Bachchan)'s roles, turned out to be the most disappointing cameo ever. I thought he would be the lead, instead of (Sanjay Kapoor) who played the husband, but I was painfully wrong. Speaking of (Kapoor), he was awful as a presence or performance; OH MY GOD, how annoying he sounded while trying to call his family, or convince his father to stop killing. Now this is not an angry idealistic guy; it's a highly frenetic neurotic. (Nana Patekar) is wasted in nonsense, his last scene is the worst thing he did, or any actor could have done. Well, the whole third act is a fine cinematic interpretation of "random". While the board of "The End" showed suddenly - it is one of the most surprising indeed - I had a big hysterical laugh, being in denial, to laugh again continuously. Believe it or not, I kept laughing even in my sleep!
To make matters worse, there is a shocking, totally unnecessary, sex scene between the wife and the husband. Even if it was brief, why to include it in the first place, since we all know that the wife loved her husband unquestionably. The sole reason was spicing things up, however by imitating the cheapest of Hollywood. The same can be said about a long kiss between unknown man and woman in a Canadian street, or the first scene which is nothing but many shots for (Karisma Kapoor) stretching in her bed. Mercifully, the TV version deleted all of that, so the movie became less tacky.
I asked myself a lot what this movie exactly is? Is it inspired somehow from the American movie Not Without My Daughter (1991)? Is it an Indian western? At one moment, I ended up considering it a cross between pure violence and outrageous comedy. Look at the supporting actors' crazy performance, the choppy action sequences, the shrill and extreme everything--they're all super hilarious. Maybe the makers of it wanted basically to make a thriller action, but their gaudy style transformed it into a comedy. Like when we watch the husband dies, then - abruptly - he sings and dances after his death. However, to tell you the truth, it is not an action, a thriller, a musical, or even a social commentary. It's a huge savage cartoon, a commercial fatuity, and a flood of silliness. In a word, this is a frank shame, and you have to see it to believe that this actually exists, and being made with big budget, and proud artists. By its end, I felt embarrassed, while not someone, but "some ones" else should. I don't know how these artists can face people again. But according to their very movie, they don't lack the impudence!
(Shakthi: The Power) has a lot of reasons to be one original balderdash, or - at best - one of the longest horror comedies. So, laugh out loud, if only you can stand it!