Business rating: 0.5/5 star

Star cast: Chirag Paswan, Kangna Ranaut, Sagarika Ghatge, Neeru Bajwa, Kabir Bedi, Poonam Dhillon.

What’s Good: Kangna’s acting; the music.

What’s Bad: The routine and screenplay; complete lack of emotions.

Verdict: Miley Naa Miley Hum is a weak fare which will not get the love of the audience.

Loo break: Not really.

Watch or Not?: Watch it if you are for new talent.

Maverick Productions’ Miley Naa Miley Hum is the story of a young boy whose parents are separated and who wants them to come together again. Chirag (Chirag Paswan) is saddened since childhood by his parents’ separation. Right from his school days, he has to divide his time between his father, Siddharth Mehra (Kabir Bedi), and his mother, Shalini (Poonam Dhillon). Chirag now helps his father in his vineyard business and also helps his mother in looking after her huge business empire. Much as he tries to patch up the differences between his mom and dad, they refuse to come together and actually hate even the mention of one another’s names.

Like his dad, Chirag also loves to play tennis but his mother hates the game because the father had avoided being by her side while she was delivering Chirag as he was busy playing tennis. So as not to hurt his mother’s feelings, Chirag doesn’t let his mother know about his fondness for the game but she gets to know about it.

One day, Shalini asks Kamya (Sagarika Ghatge), the daughter of her friend, to fly from London to India as she is keen that her son gets married to her. Around the same time, Siddharth promises Chirag’s hand in marriage to Manjeet (Neeru Bajwa), the daughter of his close friend (Dalip Tahhil). Chirag likes neither of the two girls and is also aware that marrying any one of them would sadden the other parent. To get out out of the difficult situation, he lies to his parents about having a girlfriend. When asked who she is, he tells them, the girl is an upcoming model, Anishka Shrivastav (Kangna Ranaut), even though he doesn’t even know her. To keep the façade going, he has to befirend Anishka. Soon, Chirag and Anishka actually get fond of each other. What happens thereafter? Is Chirag forced to marry Kamya? Or does he have to marry Manjeet? Or is he able to convince his parents to allow him to marry Anishka? What about his game of tennis for the championship of which he had been practising? And what about his dream of seeing his parents come together again?

Miley Naa Miley Hum Review – Script Analysis

Tanveer Khan’s story is routine and lacks any novelty as films about children from broken homes have been made in the past too. Even the screenplay, penned by Tanveer Khan, Gurjeet Grewal and Girish Dhamija, relies on clichéd situations because of which the impact is missing. Chirag’s emotional turmoil is simply not felt by the audience. The scenes of the parents fighting over who Chirag would marry looks unintentionally funny. In today’s age and day, when we talk of modern families like the Mehra family, it seems ridiculous that neither Siddharth nor Shalini appreciate the fact that their son could have made up his mind to marry a girl of his own choice. Shalini and Siddharth going to Anishka, sepatarely, of course, to dissuade her from getting married to Chirag looks ridiculous, to say the least . What’s more, the writers have not cared to show what all led to the tensions between the parents, because of which the trauma of Chirag does not come across. Even Shalini’s hatred for the sport of tennis looks too forced and, what’s worse, doesn’t serve any real purpose in the scheme of things. If the intention was to draw tears in the climax, that doesn’t happen even one bit. It is also not amply clear whether Chirag declines the proposals put forth by each of his parents because he does not like the two girls or because he doesn’t want to antagonise any of his parents. In short, the script if full of gaping holes because of which the emotional appeal of a story of a broken home is completely missing. Dialogues are good at places and okay at others.

Miley Naa Miley Hum Review – Star Performances

Chirag Paswan makes a fair debut as the lead man. He looks okay and his perfromance is slightly above average. Kangna Ranaut is good. Her clumsy and unsophisticated character is enjoyable. Kabir Bedi acts ably. Poonam Dhillon impresses in a fairly lengthy role. Sagarika Ghatge gets very limited scope. She is okay. Neeru Bajwa also doesn’t have much to do but she is earnest in whatever she does. Dalip Tahhil is his usual boisterous self. Kunal Kumar acts naturally. Suresh Menon tries to be funny but is let down by inane scenes. Shweta Tiwari makes her presence felt in a sexy song-dance number.

Miley Naa Miley Hum Review – Direction & Music

Tanveer Khan’s direction is better than his commonplace script. Music (Sajid-Wajid) is appealing but the songs are not too popular. Javed Akhtar’s lyrics are easy on the lips. Baba Azmi’s cinematography is of a good standard. Raam’s editing is sharp.

Miley Naa Miley Hum Review – Komal Nahta’s Verdict

On the whole, Miley Naa Miley Hum lacks the merits to work at the box-office. It will flop at the ticket windows.

Miley Naa Miley Hum Trailer

Komal Nahta, the Editor of Koimoi.com, is Bollywood’s most trusted trade analyst & film reviewer. You can follow him on Twitter and check out his Video Blog.

And is Prince Vivek Oberoi finally tying the knot? Word is around that the actor will tie the knot to Priyanka Alva, daughter of danseuse and social worker Nandini Alva and senior Janata Dal leader Jeevaraj Alva. Looks like Aishwarya Rai Bachchan, Neeru Bajwa and Gurpreet Gill can finally heave a sigh of relief.

Talking of marriages, the Dimpy-Rahul drama took another turn when the couple visited the Sidhhivinayak temple together to seek his blessings. After all the reality-shows and prime-time-drama, here is one couple that really needs divine intervention!

Chelsea Clinton and Mezvinsky are man and wife as they were officially married on Saturday night (31^st July, 2010). The daughter of former US President Bill Clinton and Secretary of State Hillary married in an inter-faith ceremony.

- By Koimoi.com Team

Star cast: Sudeep, Amruta Khanvilkar, Ashwini Kalsekar, baby Ahsaas Channa, master Rishabh Jain, Neeru Bajwa, Amit Sadh.

Plot: Sudeep and his family come to spend some days at a beachside bungalow and things go terribly wrong. The spirit of an ex-employee (Ashwini) of Rajiv enters the body of his wife, Amruta. After killing several people close to Rajiv, the spirit now wants to murder his daughter, Ahsaas.

What’s Good: Performances of Amruta Khanvilkar and baby Ahsaas Channa.

What’s Bad: The script and the tame horror scenes.

Verdict: Unlike Phoonk, of which Phoonk 2 is a sequel, this won’t thrill or chill. Its poor collections will definitely send chills down the spines of those associated with the film.

Loo break: None! Why? Because no scene is scary enough to make anyone run to the loo for a pee.

Sarthak Movies and Zed 3 Pictures’ Phoonk 2 (A) is the sequel to Phoonk. Rajiv (Sudeep), wife Aarti (Amruta Khanvilkar) and their two children, Raksha (baby Ahsaas Channa) and Rohan (master Rishabh Jain), come to spend some days at a beachside bungalow. Strange things start happening in and around the bungalow, more so after Raksha picks up a doll from the jungle behind their house, and keeps it in her room. The doll is supposed to be possessed and has some connection to the spirit of Madhu (Ashwini Kalsekar) whom Rajiv had dismissed from work alongwith her husband (in Phoonk) because they were dishonest. Rajiv had then got Madhu killed (in Phoonk) at the hands of tantrik Manja (Zakir Hussain) when she had done black magic on his family.

After scaring the daylights out of Rohan, the doll is thrown out at the instance of Rajiv, much to the disappointment of Raksha who had taken an instant liking to it. Suddenly one day, Aarti begins to behave strangely and talks to her husband in the voice of the dead Madhu. Rajiv realises that Madhu’s spirit has taken control of Aarti’s body and is out to seek revenge. It threatens to kill all his near and dear ones. Among those who actually die, one by one, in strange circumstances are gardener Balu (Vikas Srivastav), maid Lakshmi (Anu Ansari), tantrik Manja, Arushi (Rajiv’s sister played by Neeru Bajwa), and Rajiv’s best friend, Vinay (Ganesh Yadav). Vinay is killed when he sets out to fetch Madhu’s husband as instructed by a new exorcist/tantrik (Jeeva). The exorcist himself is later killed by Madhu’s spirit.

Madhu’s ghost is now after Raksha whom Rajiv must save. Since Madhu’s spirit is in Aarti’s body, it appears that Aarti is out to kill her own daughter, Raksha. Does Rajiv succeed in saving Raksha? What happens to Aarti? These questions are answered in the climax.

Milind Gadagkar’s story and screenplay are far from interesting or even scary. He takes too long to come to the point by which time the fear factor has died down. Even otherwise, the build-up of scenes hardly matches the culmination. Like the script, the camera (cinematographer Charles Meher) also moves so slowly that it actually tests the audience’s patience.

Another drawback of the screenplay is that it often leaves the scenes incomplete, without taking them to their logical conclusion. There are also some repetitive scenes and dia- logues, adding to the audience’s boredom. Because the screenplay is so sketchy, doors get locked and open at the whims and fancies of the writer. Continuity is hardly taken care of as the drama is allowed to take any course anytime. The characters simply announce what they intend to do and lo! and behold, the film changes direction in a jiffy! All these defects rob the film of the limited chills it has on offer. Also, the long-drawn climax moves on various tracks (Arushi gets locked out of her bedroom while husband Ronnie and nephew Rohan get locked in; Raksha is followed by Madhu’s spirit; Rajiv is also attacked by Madhu’s spirit; Arushi’s dead body is found in the swimming pool) and, worse still, justice is done to neither of them. Why none or all of the persons being attacked by Madhu’s spirit in the climax don’t run for their lives outside the bungalow boundaries is not known. All in all, the screenplay is far from cohesive and hardly affords any thrills or chills.

Sudeep does an average job. What a limited actor he is is amply evident in the single expression (of covering his open mouth with his palms) he has whenever he sees a relative/friend/acquaintance murdered. Amruta Khanvilkar does justice to her role and is very natural. Ashwini Kalsekar gets very limited scope. It’s a mystery why the cameraman hasn’t even shot her properly – the camera hardly stays on her face or body! Baby Ahsaas Channa does a marvellous job and deserves kudos for it. Master Rishabh Jain is cute and acts ably. Neeru Bajwa looks glamorous and performs quite well. As her husband (Ronnie), Amit Sadh is okay. Anu Ansari passes muster. Ganesh Yadav, Zakir Hussain, Vikas Srivastav, Jeeva and the rest lend fair support.

Milind Gadagkar’s direction, like his script, leaves a lot to be desired. The debut-making director has failed to make a horror film which would send shivers down the spine of the viewer. Dharam-Sandeep’s background music is functional. There is only one song in the film and that is just about okay. Action scenes (Parvez Khan) are alright. Camerawork is ordinary. Editing (Veenu Choliparambil and Radhey Lalsa) is not upto the mark.

On the whole, Phoonk 2 is far from being a worthy sequel or successor to Phoonk. It will fail to recover its investment in spite of being a low-budget film.