Not A Love Story Movie Review

Sahi Dhandhe Galat Bande Movie Review

Chatur Singh Two Star Movie Review

 Phhir Review(fullstuf movie reviews)


 This is one film that has been stuck in the pipeline since 2 years. And finally when it sees the light of the day it's up against a stiff competition from the multi-starrer overhyped film Aarakshan. So does it stand a chance? I wonder!

Kabir Malhotra (Rajneesh Duggal), a renowned doctor marries Sia (Roshni Chopra). One day Sia disappears without a word. Disha (Adah Sharma) a person who can foresee things by some special ability helps Rajneesh with clues that take him closer to unravel the mystery of his missing wife. How while finding his wife he stumbles upon his past and how the tale takes a complete twist is what follows through the rest of the plot.

Phhir is a combination of supernatural thriller and romance. If the filmmaker could possibly add other genres like comedy, drama et all I am sure he may have done that too as the way he twists his story to blend the suspense, romance and supernatural elements of spirits, previous birth, reincarnation etc. is not only bizarre but amusing. If you keep aside the supernatural part, the suspense bit of it is still decent with the twist of the wife going missing making you apply your brains.

The intercutting in the film is pretty intelligently used but the problem is that filmmaker Girish Dhamija makes overuse of it reducing its impact. The setting is the only thing that stands out in the film. The director has meticulously kept the backdrop intact. Rajneesh Duggal, Adah Sharma and Roshni Chopra all are decent in their parts. A glaring error in the film is the background score and the out of focus scenes. The songs running in the background never matches with the situation going on screen. While there are quite a few scenes going out of focus.

To sum it up, Phhir is one film that you cannot think about watching again.


 Aarakshan Review(fullstuf movie reviews)



 First things first. Is "Aarakshan" pro or anti reservation? The intricacies of this cleverly-written film do not allow us the luxury of arriving at any definitive conclusion on the matter. For or against job reservation ceases to be the core issue in "Aarakshan" after a point. The film is fully pro-education, that's for sure.

What we come away with in this deftly told story of socio-political exploitation is a protagonist who is so stubbornly idealistic he could only be played by a super-hero.

Super-heroes need not wear underwears over their trousers, nor their hearts on their sleeves. It could be a maths teacher who enjoys educating successive generations without thinking of promotions and perks.

The educationist in Prakash Jha's film, as played with supreme magnetism by Mr Bachchan, is a man of all seasons. What he does with unnerving effectuality is to tell us that our educational system is fatally flawed. And it's just not enough to talk about it.

When Dr Prabhakar Anand senses he can no longer fight the corrupt educational system from the inside, he moves out, starts educating girl children from a tabela owned by a benign peasant (Yashpal Sharma, a regular in Prakash Jha's cinema and in splendid form here).

The portions where we see Prabhakar Anand's awakening as a grassroot educationist is so closely aligned to Amitabh Bachchan's image of the actor of the masses that you feel the idealism of the educationist somewhere noiselessly mingles with the actor's ability to slip into super-hero's roles without flying physically.

This film levitates Mr Bachchan in far more subtle ways. He plays a man with the gumption to say no to a system of education that progressively favours purchased merit. Spearheading the educational racket in "Aarakshan" is Manoj Bajpayee playing his coaching-institute wheelerdealer part with over-the-top gusto.

Towards the end when all hell breaks loose, and Bajpayee's character is seen pounding with his fists a steamroller meant to mow down Dr Prabhakar Anand's idyllic educational spot, a character whispers, "He has lost his mind."

Well, precisely. There is much in Prakash Jha's kingdom that is rotten. The characters on the negative side of the educational fence are uni-dimensional and sport expressions accordingly.

To lift the tale from the discernible blemishes (spotless Nehru jackets for the principal character in every sequence, over-pancaked women playing supporting roles, too much attention to getting the commercial language like the mandatory songs, right) there are the high point all of which gather momentum in the second-half when the film tells us with punctuated passion, that something can be done to change Indian mindsets that encourage educational malpractices, that grasroot education is the only feasible remedy to the corrosion of the entire educational system.

The sequences showing Prabhakar Anand teaching maths in a tabela with ample support from his daughter (Deepika Padukone), and two students from different social stratas (Saif Ali Khan and Prateik) convey the warmth of an idealism that we lost in our cinema since the days of Hrishikesh Mukherjee's "Satyakam".

The narration moves forward entirely through the voices of the male actors who are largely a part of a very confused educational system in a country where marks on report cards determine an individual's career.

Merit is the main issue in this meritorious film. The performances range from the loud to the lyrical, depending on whether the camera moves away from Mr Bachchan or stays close to him. He brings to the part of the conscientious and immovable educationist a kind of emphatic idealism that would look highly inappropriate in any other actor. With his imposing presence Mr Bachchan never lets the character's high ethics down.

Among the other actors Saif Ali Khan scores very highly in sincerity, subtlety and sheer screen presence. Playing a Dalit boy who still irons his own clothes (a bit overdone, the drama of the damned) Saif moves through the motions of social protest and individual outrage with stealth and conviction.

In fact the one deep flaw in the film is that the relationship between the characters played by Mr Bachchan and Saif of the deeply-committed benefactor and the indebted but conflicted protege, is not given ample room to grow in Anjum Rajabali's flawed but brilliant script.

But then there is so much that you carry away from the film that the flaws fade away from consideration. What we are left with is a film that tackles a sensitive and topical issue with confidence and vigour, not allowing us the luxury to love the heroes or hate the villains. Though an easy and fluent grace is often found to be missing in the narration, the principal issue remains education. And that's never secondary.


Gandhi To Hitler Review


Imagine Adolf Hitler talking in a North Indian accent or shots of Germany being cheated with shots of Hilly North Indian Belt? A horrid sight right? Well that's exactly what you will go through if you ever make up your mind to watch Amrapali Media Vision Pvt Ltd's Gandhi To Hitler.

Set during the time of 1940s when the world was plagued with political unrest and German's increasing tyranny under the rule of Adolf Hitler, Gandhi to Hitler, is a film that tries to depict the contrasting ideologies of Gandhi who supported non-violence and Hitler who resorted to violence for winning through two epistolary letters written by Gandhi to Hitler. The film starts with Gandhi's letter to Hitler to put an end to his callous means. It then goes on to show the Hitler raj, the expansion of Germany, and then the downfall of Adolf Hitler when even his own aides go against him while Gandhi's track runs in parallel where he is preaching non-violence to all.

Director Rakesh Ranjan Kumar goes completely wrong in not only formulating a proper story for this film but also in the setting, character sketch, detailing et al. There seems no director of any sorts applied throughout the film is it meanders from India to Germany heedlessly. The film is deprived of any reason to watch it. Moreover, it comes across rather as a torturous trifle than anything else. A major portion of the film is shot within the bunker of Hitler where he is in the hiding. The setting looks so artificial and fake that it leaves you red in your face thinking that the filmmaker undermines its audience's intelligence to such extents. How can one ever accept an Indian i.e. Raghuveer Yadav, posing as Hitler and muttering dialogues in a North India accent? Ridiculously, everyone right from the French Army to the German Army consists of desis. So when an Indian troupe of soldiers that runs from Germany to return to India reaches the France border, you cannot say that theirs any difference between the French men and Indian soldiers! Beats me!

There are two more tracks that run in parallel to this arduous film. One that is the clandestine love affair between Eva Braun (Neha Dhupia) and Hitler and the second being the journey the troupe of Indian soldiers head by Aman Verma to Indian shores. Apparently, the director also wants to establish the story of Subhashchandra Bose's merger with the Germans and his support to the German army to fight against the Russians by lending his soldiers. Too much info crammed in a 2 hour plot.

At the end of it, all that's left is the angry audience who is put through such ridicule of History. Gandhi To Hitler is devoid of any reason to watch it.


Bubble Gum Review


Right at the interval, the director came at the press show stating that his film Bubble Gum isn't a children film meant for kids. It's a film that will appeal to people of all age groups. However, the point remains that with no publicity or any sorts and no face value to the product, his message may fade away in no time. After repeated big budget, big star cast films gracing the cinema halls week on week comes this week that has only the small budget films making it to the theatres. One such among the others is Bubble Gum. Now whether this small film has content enough to pull the masses or not remains to be seen.

Set in the times of 1980s in Jamshedpur when there was no computer, internet chatting, long telephonic conversations, mobile, Bubble Gum is the story of Vedant (Sohail Lakhani), a boy who finding it difficult to deal with his teens. He falls head over heels for a colony girl Jenny (Apoorva Arora) but he also has his rival Ratan (Suraj Singh) who too has the hots for the same girl. During this time Vedant's brother Vidhur (Delzad Hiravali) comes from his hostel to spend the holidays with his family. Vidhur is a deaf and mute teenager who tries really hard to build a bond with his unruly brother but Vedant considers Vidhur a liability and object of ridicule more than his brother. How the bond between the two brother increases and how Vedant wins over Jenny is what forms the rest of the story.

Bubble Gum definitely isn't a children film. It talks of the times and challenges we all have gone through in our lives. The days when a small clash with a friend would mean the end of the world, when not getting pocket money was the biggest punishment or even the times when you starting looking at people of the opposite sex from a different viewpoint. Yes, these are the things that this film takes us through. Debutante director Sanjeevan Lal sets the mood of the film just right by establishing the times of the 80s in a small town when there were no Blackberry Messengers, no chat rooms, no Play stations and definitely no mobile phones. The situations he presents onscreen actually remind you of your adolescence. It even has the bitter-sweet clashes between siblings, between parents and children, between friends. It has people using the right accent, the film having the right setting, great detailing right from the type of telephone to the cooker to the parties celebrated by kids, to the love letters.

However, what Bubble Gum misses out on is the correct execution or as people call it, the midas touch. Courtesy a novice attempt, the film fails to establish an emotional connect in the situations when it needs the most. So you don't feel empathetic for the deaf and mute child. Nor do you feel for the growing up challenges of Vedant. Instead of sticking to the plot and developing it, the director has his film going all over the place with varied situations needless. Had it been for a crisp editing, Bubble Gum could've been a delightful watch, but it fails even at that. Music of the film by multiple composers like Hanif Sheikh, Bapi and Tutul is disappointing. Sachin Khedekar and Tanvi Azmi as the parents of Vidhur and Vedant act very well. The two most sorted performances. Sohail delivers a decent performance while Delzad deserves a special mention. For a person deaf and dumb in real life, Delzad does an outstanding job.

To sum it up, Bubble Gum is a small film with a big heart but loses itself for amateurish efforts.


Khap Review


Issue-based films tend to get themselves into trouble. And we don't mean just the trouble caused by disgruntled parties, political or otherwise. The balance that needs to be struck between headlines and their cinematic interpretation often tends to get lost thereby defeating the noblest of purposes and the best intentions of conscientious filmmakers who look at the cinematic medium as more than just entertainment.

Ajai Sinha, who has his roots in meaningful television entertainment (serials like "Astitva-Ek Prem Kahani" and "Hasratein"), boldly takes on the theme of khap (community) justice in rural Haryana whereby any marriage between two individuals of the same gotra (clan) is punished by local village panchayats. It's a powerful subject that needed a single-mindedly uncompromised treatment.

Sadly Sinha dilutes the theme with dollops of formula-baazi. There's a teenybopper love-angle featuring two relative newcomers who need a crash-course in basic acting and grooming. The young lovebirds chat online with what they feel are sweet, cute and funny lines.

If only they knew! The entire treatment and development of their romance is redolent of amateurishness. Precious time is frittered away in gawkily composed and choreographed song and dances where the love birds coo sweet-nothings into one another's ears.

You feel like pushing these two campus wannabes out of the way to watch the impending drama in a village of Haryana where the panchayat is a law unto itself.

The interweavement of characters into a dramatic circle embodying outdated customs and their clash with contemporary mores, could have acquired a greater validity if the narrative had focused more on hard-hitting rural prejudices rather than jejune urban affectations.

Om Puri as the village sarpanch is the pick of the plot. He gets the meatiest part with the best emotional graph. He doesn't need to make much of an effort to make the part his own, and he doesn't even try. Nowadays a kind of laziness has crept into distinguished actor's repertoire.

It's wonderful to see the talented Manoj Pahwa grab a pivotal role. Pahwa was hilarious as Ayesha Takiya's delusional suitor in "Wanted". Here he sinks into the role of a village elder who once watched his daughter being slaughtered for the village honour.

Ajai Sinha's antecedents from television make themselves evident in the way the drama unfolds in episodic overtures covering huge time-frames with soft punctuation marks.

The film would have worked better with a more confident cast of younger players. The elders can only take the drama so far. "Khap" is finally betrayed by the wimpish and awkward portrayal of the urban young and by too many attempts to draw out a soap-opera-styled drama from situations that seem to plead for more finesse in presentation.

Nonetheless "Khap" should be commended for attempting a socially-relevant theme with some amount of detachment and equanimity.

Should love between cousins or people from within one family be sternly discouraged just because the village panchayat feels it is damaging to the social framework?

You decide.

Warning Review


If there's any film that can define unattainable lows it has to be Aagaah The Warning. It's certainly not easy to make a good film; a lot of efforts are put into it. But it's amusing to see the efforts put behind to make a cult bad film such as this.

Merging terrorism and horror, Warning is about a Jihadi Azaan Khan (Atul Kulkarni) who's instilled with the fact that if he dies fighting for his nation he will go to heaven. So he takes up the task of attacking Mumbai and approaches the city via the sea route. The boat that they hijack belongs to an innocent boatman Ramsharan (Karan Razdan) who curses Azaan while dying. So whether it's the curse of Ramsharan or his own wrong doings, Azaan turns into a spirit and keeps haunting the family of Ramsharan which includes his wife (Rituparna Sen Gupta), his mother (Ila Arun), father (Satish Kaushik) and his daughter (Jannat) only to convey a very important message. Now we cannot reveal that message and take away your fun. So dare to watch it yourself.

I understand that theirs a dearth of plots in horror genre in our nation. I also understand that yearning for which we derive "inspiration" from Korean or Hollywood cinema. But no reason can justify the crime committed by penning a story of Warning. The film is very conveniently divided into two parts, terrorism cum patriotism and horror so while you think of entering into a horror film, the initial first half cheats you with story meandering into terrorist attacks, training camps, jihaad blah blah blah. It's the second half that has the spooky element with one of the most bizarre connections ever. It is shoddy, amateurish and increasingly annoying to be watching the wrong setting, wrong premise, wrong characterisation and worst still, wrong execution of the wrong doings for a good 2 hours. If there's anything that's worth looking out for in this film it surely would be the unintentional humour that you can opt for if you plan to have a gala time with your bunch of friends. But with the multiplex prices touching the sky, I cannot assure you that even this can be a reason good enough to watch this film.

To add to the agony you have the constant hamming of the actors where the director Karan Razdan himself tops the list. He stutters and hams as seen never before in Indian cinema. The effects are very vintage with even the Ramsay brothers doing it better. Music by Sachin Gupta only adds to the agony.

To sum it up, we warn you to not watch this Warning.

Zindagi Na Milegi Dobara 'Movie Review:

Zindagi Na Milegi Dobara review - ZNMD Review - Zindagi Na Milegi Dobara Movie review - Hrithik Roshan and Katrina Kaif Movie Review: 

Javed Akhtar’s magical poetries, impeccable performances by the cast, scenic and serene Spain, and a message, Zindagi Na Milegi Dobara has all the ingredients that will hit the right chord with the audience. 

Zoya Akhtar’s film is about three friends; Kabir Dewan (Abhay Deol), who runs a family owned construction business and is just about to get married to his ladylove Natasha (Kalki Koechlin); Arjun (Hrithik Roshan), a financial broker who lives to earn big bucks and peacefully retire after the age of 40; and Imraan (Farhan Akhtar), an advertising copywriter, a playboy who is looking for his estranged father. They make a pact in college that they will go on an escapade before either of them ties the knot and would indulge in three adventure sports. Whatever one decides the other two have to abide by. And there on starts their exploratory road trip.

As the title suggest, the film throughout is about overcoming your fears and live life like there’s no tomorrow. Arjun’s fear of Scuba diving, Imran’s fear for Sky Diving and finally the San Fermin festival, the Bull race to get over the fear of us all, Death are just ways to remind us to live life to the fullest. The Tomatino festival, Senorita number, Arjun falling in love with Laila (Katrina Kaif) and all the adventure sports are added attractions to enhance the cinematic experience of a viewer. Farhan Akhtar is stupendous with his comic timing and one liners and also astounds in the sequence he meets his dad Salman Habib. Hrithik Roshan is a natural stunner and sure this kind of a mesmerizing performance was expected from him.

After Prakash Jha’s ‘Rajneeti’, it was Zoya Akhtar who could bring out an actor out of Katrina Kaif. As a Fashion Apprentice who takes leave every year to teach Scuba Diving, Katrina enthralls and gives her best performance. Kalki as a possessive fiancé does her part well. Naseeruddin Shah and Deepti Naval’s cameos are unblemished too. The film is a pack and parcel of sensitive as well as sidesplitting jiffies that make you cry as well as laugh. Teaching you a lesson or two in life, ‘Zindagi Na Milegi Dobara’ will connect to almost every individual who will relate to the snags its lead stars are facing.

Music by Shankar-Ehsaan-Loy is absorbing enough but its Carlos Catalan’s cinematography that truly impresses. Though, the film has a striking similarity with Aamir Khan’s ‘Dil Chahta Hai’ and feels lugged at quite a few moments, the film is definitely not worth missing.

Rating: 3.5/5
Banner: Eros International Media Ltd, Eros Entertainment
Cast: Hrithik Roshan, Abhay Deol, Farhan Akhtar, Katrina Kaif, Kalki Koechlin
Music: Shankar-Ehsaan-Loy
Producer: Ritesh Sidhwani, Farhan Akhtar
Director: Zoya Akhtar
Genre: Drama / Romance


Ajay Devgan and Kajal Agarwal Singham Movie Review - Singham Movie Rating: ‘Singham’ means a Lion. So does it roars? Oh yes it does but in chunks. Rohit Shetty’s Ajay Devgn starrer ‘Singham’ is a remake of Tamil film ‘Singam’ that had Suriya play the lead. Rohit and Ajay’s dream team has given several hits to the industry and ‘Singham’ too will appeal to the masses, but its screenplay despite a strong script fails at times.

Bajirao Singham (Ajay Devgn) is an honest and beloved police officer of his village Shivgarh. His people can give their lives for him. All is rosy in the village until Singham meets Jayakant Shikhre (Prakash Raj), an aspiring politician who has Goa under his wings of corruption and crime.

The film starts with a Police Officer Kadam committing suicide because he could not fight the corrupt department and Shikhre. Singham takes his place and predictably hits on the system right, back and center thus ending the Shikhre rule in the city. 

What will make you really glued on to the screens is Prakash Raj’s impeccable performance. You can never get enough of him. The man puts extra life in even a very ordinary dialogue. His dialogue delivery and screen presence will leave you spell bound. Ajay Devgn is his usual best. The actor is consistent with his upright on screen enactment and does astonish. Southern starlet Kajal Agarwal who played the role enacted by Anushka Shetty in the Tamil version is decent too. She plays Kavya, Singham’s love interest ofcourse, and his motivation in troubled times.

The very talented Sachin Khedekar, Ashok Saraf and Govind Namdeo are wasted in the film with not having enough scope to perform. But whatever they did was acceptable. The surprise package of the film was Sonali Kulkarni, who plays Kadam’s widow and does a stupendous job. The comic portions injected in the film were utmost stupid. 
Kavya wearing an ugly ghost mask to scare villagers around was totally absurd. Some sequences were absolutely predictable. The action however managed to entertain. The excitement was generated when Singham converses with Shikhre, while the song and the lovey dovey or the comic sequences were a big break to all the fun.

Music is mediocre and the background score just like the film was interesting in parts too. The songs will not really have repeat value. Rohit Sheety’s direction in the action sequences really impresses but there was much more expected from the film and it fails to meet that. A little more attention to the screenplay would have made it a better watch but do lookout for Prakash Raj and Ajay Devgn’s notable performances.

Plus Points:

- Ajay Devgn, Prakash Raj performance
- Story 

Minus points:

- screenplay 

Final Word: Worth watching 

Rating: 2.5/5
Banner: Reliance Entertainment 
Cast: Ajay Devgn, Kajal Agrawal, Prakash Raj, Sachin Khedekar
Diretor: Rohit Shetty
Music: Ajay - Atul
Genre: Action

I Am Kalam Review:
‘I Am Kalam’ is about the sky-high dreams of an ordinary food stall (dhaba) worker. A cult follower of the former Indian President Dr. A P J Abdul Kalam, Chhotu who calls himself Kalam wants to become like him and reach great heights. ‘I Am Kalam’ is Chhotu’s journey from being ordinary to extraordinary. 

In the backdrop of a small village in rural Rajasthan, the movie starts with a hapless mother Meera (Meena Mir) who wants her barely 10 year old son Chhotu (Harsh Mayar) to work in a Dhaba to pay off her debts. Dhaba owner Bhaati (Gulshan Grover) who initially is reluctant to hire Chhotu is later amazed by his impeccable learning ability. He makes two friends, a French lady, Lucie Madame (Beatrix Ordeix), who promises to take him to Dehli and Prince Rannvijay Singh (Husaan Saad), a lil boy of his age who has all the riches of the world at his disposal and only one friend that is him.


More of a documentary, ‘I Am Kalam’ teaches that more than your fate it’s your Karma that matters. Shahrukh Khan says that he use to sleep at a road side bench and daily borrow Rs.20 from a friend to reach film city before he became a super star. As they truly say, life is not what you couldn’t do so far, it’s about what you can do now. It is sheer determination and your eagerness to make it big that will create wonders in life.


Background score of the film by Deepak Pandit is absolutely in sync with the screenplay. Cinematography, editing, lyrics, art direction are bang on. The film has no breaks, and is an inspiring story and a commendable attempt by director Nila Madhab Panda. But there is a possibility that a must watch for all classes and ages, ‘I Am Kalam’ might be seen as a multiplex film.


Coming to the technicalities, the film boasts of flawless performances by Gulshan Grover, Harsh Mayar, Meena Mir and even Beatrix Ordeix. But who stands out of all is definitely Husaan Saad, who is profoundly talented as Kunwar Rannvijay Singh. He is a natural stunner and gives a spectacular performance. Pitobash who was last seen in Ekta Kapoor’s ‘Shor In The City’ is a pure genious. He plays Chhotu’s co-worker who is slightly jealous of this smart-witted chap.

Plus Points:

- Story, Screenplay, Background Score, Direction

Minus Points:

- It is a multiplex movie.

Final Word:  Must Watching Film.

Rating: 4/5
Banner: Smile Foundation
Starring: Harsh Mayar, Gulshan Grover, Pitobash Tripathy, Husaan Saad, Beatrix Ordeix, Meena Mir
Music: Abhishek Ray, Madhuparna, Papon, Sumit Bose, Shivji Dholi
Producer: Santanu Misra
Director: Nila Madhab Panda

Chala Mussadi Office Office Movie Review:

Pankaj Kapur’s award winning Telly show Office Office was loved by all because of its clean comedy, amiable characters and the basic plot of common man vs corrupt bureaucrats. Making it into a full-fledged feature film was the safest bet citing its immense popularity. But success brings with itself responsibility as the expectations with a film are definitely much higher. So does the film stands at par with the hype? For me, yes it did but in parts. 


'Chala Mussaddi.. Office Office’ is about a common man Mussaddilal Tripathy (Pankaj Kapur), who is chooses to be naïve about the corruption and bribery prevailing in the Indian society. Gone for a long pilgrimage, 62 year old Mussaddi comes back only to find out that the pension office has declared him dead in their records. Mussaddi decides to fight against the system alone and finally succeeds. He meets corrupt bureaucrats at every nook and corner, be it the railway officials, or the pandits who need bribe for performing a pooja, or the city collector.


The film has a good message that asks the common man to stop bribing officials so that the future generation can live in peace. Based on the Gandhian philosophy of being the change, the film hits the right chord, and for that and for the performances, we would go for two stars for this one.


There is no issues as far as the performances go. The film lands on Kapur’s shoulder who is certainly a powerhouse of talent. Gaurav Kapur as Mussaddi’s unemployed son does his part well and impresses. Farida Jalal is in a blink and miss role. The rest of the cast is similar to what we are already accustomed to seeing. Even the dialogues are the same. The comic sequences just manage to create small giggles here and there.


The problem with the film is that it lacks novelty and the cinematography and screenplay seems age old. Sajid Wajid has added one song to the film that describes Mussaddi and his dilemma. Though the song is nice, playing it at repetitive intervals gets irritating. The film seems dragged and boring in parts.

Plus Points:

- Pankaj Kapur, Good Message, Office Office Telly show credit.

Minus Points:

- Innovation, Screenplay

Final Word: Can be shun.

Rating: 2/5
Banner: Eagle Films
Starring: Pankaj Kapur, Gaurav Kapoor, Farida Jalal, Manoj Pahwa, Deven Bhojani, Asawari Joshi & more
Music: Sajid Wajid
Producer: Umesh Mehra, Rajesh Mehra, Rajiv Mehra
Director: Rajiv Mehra