Khiladi 786 (2012) Movie Review Details | Bollywood Movie Reviews

Khiladi 786 (2012) Movie Review Details :-

Now that the 1980s’ variety of masala films are being lapped up by spectators, it is heartening to see Mumbai-based film-makers working hard to create zany entertainers, also boarding the next available flight to South India to clinch the deal/s for the remake rights of Southern blockbusters. The A-list actors, on their part, are equally gung ho for unabashed entertainers, consenting to allocate ample time to movies of this variety.

Akshay Kumar, who tasted super success earlier this year with ROWDY RATHORE [besides HOUSEFULL 2 and OMG - OH MY GOD!], comes up with his second masala outing before the year draws to a close, KHILADI 786. What makes KHILADI 786 conspicuous is the fact that it marks Akshay’s return as ‘Khiladi’ after more than a decade. From the immensely likeable KHILADI in 1992 to KHILADI 420 in 2000, Akshay was the face of over half-a-dozen ‘Khiladi’ movies during that phase — some good, some plain average, some terrible movies. The brand ‘Khiladi’ got affixed to Akshay in those years.

KHILADI 786 borrows the ‘Khiladi’ brand, but has no correlation with the ‘Khiladi’ movies attempted earlier. KHILADI 786 has a skeletal plot, but is padded with ingredients that are aimed at the hoi polloi: The lead man bashes up 10/15 goons at one go like we swat mosquitoes, punches the wall in anger and the wall crumbles, even gulps down a man as if he we were consuming a soft drink from a straw [yes, you read it right!]. This is a mere sample of what you gonna see in KHILADI 786. So, be prepared!

Come to think of it, KHILADI 786 has been made with the intention of grabbing the attention of the hardcore masses, hitting the ton [Rs 100 cr Club] and giving the tag of a ‘Hit Machine’ to its lead man, Akshay, who has delivered three solid hits this year. Ashish R. Mohan, who has been an apprentice to Rohit Shetty in the past, adapts his mentor’s formula of wooing the audience, stretching the term unbelievable more than it should. More on that later!

Born to the owner of a marriage bureau Champak Lal [Manoj Joshi], Mansukh [Himesh Reshammiya] has been a complete failure ever since he has grown up and tried to help his father in their family business. All the alliances he had tried to get done have resulted in separation even before the marriage took place.

To prove his worth to his father, he takes up an unusual challenge of getting the underworld don, TT Bhai’s [Mithun Chakraborty] spoilt sister Indu [Asin] married to a cop called Bahattar Singh aka Khiladi 786 [Akshay Kumar] in Punjab. Mansukh convinces TT Bhai to pretend as a cop. Little do they know that Bahattar Singh, his father Sattar Singh [Raj Babbar] and his uncle Ikhattar Singh [Mukesh Rishi] are not cops, but a family of con men.

The two families now pretend to be policemen in front of each other, but the cat is out of the bag soon.

KHILADI 786 is an old-school wacky potboiler. There isn’t an iota of logic here and one is not even looking for intelligence, rationale or justification either. The film is packed with ingredients that constitute a wholesome entertainer such as humor, South-styled stunts with the one-man army outsmarting a bunch of deadly goons and of course, visually enticing songs every 15/20 minutes, but the writing has its share of hiccups.

Mithun is supposed to be a dreaded don in Mumbai, whose name and pics have been splashed in newspapers and TV channels since decades [we're even shown clips], but how come Raj Babbar, Akshay and their family are completely clueless of his identity?

The track of Asin’s lover [Rahul Singh] is a yawn. What was the writer thinking while penning those sequences?

The climax, with Rajesh Khattar landing up at the wedding, Johny Lever unlocking himself from a room where he was held captive and Mushtaq Khan and Bharti suddenly becoming news reporters at the wedding mandap, looks too much of a cinematic liberty.

On the plus side, the first-time director throws every trick in the book to entice the spectator and moves on to the next scene, before the viewer gets the feeling of deja vu. There’s no denying that you actually enjoy certain moments in the narrative. The concept of having an African and Chinese in the family is so funny. Also, the lost-in-mela brother surfacing in the end may look ridiculous, but makes you smile again. In a nutshell, the film caters to the masala loving audience and the director has no qualms about admitting it.

Himesh Reshammiya, who enacts a pivotal part in the film, belts out super numbers here. ‘Balma’, ‘Lonely’, ‘Hookah’ and ‘Long Drive’ have already made it to the music charts and are, without doubt, standout tracks. The action sequences are very much macho and executed with zest and enthusiasm.

Akshay’s desi punches, raw and masculine action and the correct comic timing is sure to win a lot of hearts yet again. He is in his element, in complete form, brimming with charm and confidence. He’s the mainstay of the film and lives up to the title every bit. Asin is the prototypical heroine who has to look her best, dance admirably and pair off with her on-screen man.

Himesh Reshammiya does very well, while Mithun Chakraborty and Raj Babbar add lots of weight to their characters. Sanjay Mishra is in his element. Mukesh Tiwari impresses. Johny Lever is under-utilized. Manoj Joshi, Rajesh Khattar, Mukesh Rishi and Gurpreet Guggi are perfect. Mushtaq Khan, Bharti and Rahul Singh deserved better roles. Claudia Ciesla’s item song adds glamour to the proceedings.

On the whole, KHILADI 786 is not for purists, but for lovers of hardcore masala films completely. If zany amusement, wacky humor and over the top entertainers is what you enjoy, this one’s for you. Go, have fun!

Rajdhani Express Movie Review Details | Bollywood Movie Reviews

Rajdhani Express Movie Review Details :-

The movie industry’s romance with train travel is too well known by now. Images of private cabins/compartments, tasteful dining cars/coaches and railway platforms/stations cross your mind as you fondly recall several Hollywood and Bollywood movies. The train travel is peppered with scenes depicting romance, cheer, heartbreak, freedom, danger, robbery, crime, calamity… In my opinion, trains make for great movies!

For a raconteur who’s planning to relate a crime story, well, it’s easy to plot a thriller in a train journey: A moving mode of transport, the terrain, the proximity to unfamiliar people… All you need is to lace the film with occurrences and incidents that would give the spectator goose bumps.

RAJDHANI EXPRESS also uses this mode of transport [train] to narrate a story. In view of the fact that the genre is thriller, one expects smart lines and electrifying episodes, captivating goings-on and tension-filled moments, all seamlessly juxtaposed in the narrative to entice the spectator, but RAJDHANI EXPRESS does so half-heartedly.

Keshav [Leander Paes], an errand boy for a gunrunner, steals the weapon and a ticket to escape and travel in Rajdhani Express from Delhi to Mumbai. Inside the train, his fate is no better. Distanced, ridiculed and humiliated, he reacts by pointing his gun at his co-passengers. All hell breaks loose.

The Deputy Commissioner at ATS, Yadav [Jimmy Sheirgill], extracts political mileage from the situation. His motive is to get even with his boss, the Home Minister [Ishrat Ali], whose parents also happen to be on this train. Can Keshav escape the trap?

An intelligent thriller ought to have layers and sub-plots all through the narrative, making it hard to get restless and fidgety for even a second. Unfortunately, the writing of RAJDHANI EXPRESS is a mixed bag. The writing is dull for most parts in the first hour, holds your attention in the post-interval portions, but the conclusion leaves a lot to be desired.

Director Ashok Kohli chooses to tell a fascinating story, but it doesn’t come across too well on screen. Instead of sharp confrontations, verbal showdowns and surprising twists, what’s offered is the standard and customary drama that doesn’t pack a punch after a point. Like I said, the second hour has its moments, but the ultimate resolution would leave the spectator confused. Cinematography is functional and so is the soundtrack.

Leander Paes delivers at times, but is awkward at places. He has the raw looks that this character demands, but the writing doesn’t do justice to the expectations one has from him. Jimmy Sheirgill is natural enough. Priyanshu Chatterjee and Mukesh Rishi are the best of the lot. Both add so much to their respective roles. Sudhanshu Pandey is strictly okay. Sayali Bhagat doesn’t get any scope. Gulshan Grover gets repetitive after a point. Ishrat Ali is perfect. Kiran Kumar, Achint Kaur and Shilpa Shukla get minimal scope. The actress enacting the part of the item girl is confident.

On the whole, RAJDHANI EXPRESS has its moments, but they are few and far between.

Table No. 21 Movie Review Details | Bollywood Movie Reviews

Table No. 21 Movie Review Details :-

Films like KAHAANI, TALAASH, also most films helmed by Abbas-Mustan had this uncharacteristic quality of keeping the spectator on tenterhooks till the last frame. A taut thriller demands that the spectator stay vigilant, is all eyes and ears as the story unfolds, becomes a participant while the mind games are being played by the characters on screen… TABLE NO. 21, directed by Aditya Datt, which sets the ball rolling in 2013, truly symbolizes a riveting thriller.

It’s not just the premise that grabs your attention, but TABLE NO. 21 stands out because it doesn’t borrow the formulaic template, nor does it rely on the predictable twists and turns or caricaturist characters to enthrall the spectator. It’s clever, engaging and carries a message that hits you like a ton of bricks. Importantly, it’s a well crafted thriller that delivers more than what it promised in its attention-grabbing promos.

Vivaan [Rajeev Khandelwal] and Siya [Tena Desae] win a fully-paid-for vacation to Fiji. Once there, they are invited to dine at a plush resort, making their wedding anniversary truly special. The owner of the resort — the suave Mr. Khan [Paresh Rawal] — offers them to partake in a reality game show. The prize money? A staggering Rs 21 crores.

Eight questions. Honest and straightforward answers. Not quitting the game show till the eight questions are answered… Vivaan and Siya grab the opportunity instantaneously. But the game is not as uncomplicated as they think. Vivaan and Siya feel trapped as the game advances, but they can’t quit it midway. The mystery deepens… Who’s Mr. Khan? Why is he playing this game? Or is he playing with their lives?

While the basic premise of TABLE NO. 21 is fascinating, intriguing enough for a suspense thriller setup, the screenwriting packages a series of realistic sequences and episodes that catch you unaware. What starts off as a love story gradually transforms into serious stuff and the suspense and drama plays on your mind even after you’ve made an exit from the dark auditorium. A slick thriller, the film makes you uneasy [towards the conclusion] due to the stark reality it portrays and that, in my opinion, is one of the triumphs of the film.

Director Aditya Datt pulls off the innovative concept with élan, as the game as well as the back stories leave you gasping for breath. You might draw parallels with some Hollywood movies, but the message it drives home and the way it terminates makes the viewer in you satiated. While one is itching to describe a few sequences and unravel the course of the film during the penultimate stages, it would be unfair on my part to spill the beans. The beauty of the film will be to watch it without knowing anything and absorbing it like a sponge, since it’s a film about characters and conflict with a big revelation. I’d like to make a special mention of its writing [story-screenplay: Shantanu Ray and Sheershak Anand; additional screenplay and dialogue: Abhijeet Deshpande], which leaves no scope for loopholes. In fact, like I pointed at the very outset, the writing demands that you stay alert and attentive, else you might lose chunks in the plot. The sole deterrent is its slow pacing in its first hour.

DoP Ravi Walia captures the scenic beauty of Fiji with proficiency. The narrative boasts of just two songs and both fit well in the scenario of things. The background score [Amar Mohile] enhances the impact. The editor [Devendra A. Murdeshwar] has cut the film very well, with not a single sequence overstaying its welcome.

Paresh Rawal gets another author-backed role after OMG – OH MY GOD and though you may label it grey or black on the basis of what you may have witnessed in its promos, the actor sees to it that the character doesn’t get stereotypical or hackneyed thanks to his faultless acting abilities. His character changes colors rapidly, like a chameleon changes colors, taking the film to its peak towards the closing stages.

Rajeev Khandelwal’s choice of movies is worth applauding. The actor cannot be accused of getting repetitive since his choice of movies has been as diverse as chalk and cheese. The talented actor portrays a complex character in this film and I must add, he gets the part spot-on. A persuasive screen presence and effortless acting consistently makes this character work and how! Tena Desae is a revelation. Extremely photogenic, the character must have been a challenge of sorts for the actress and Tena handles it most courageously and confidently, getting into the skin of her character. Hanif Hilal doesn’t get any lines to deliver, but his imposing persona and silence stays with you. Dhruv Ganesh is striking towards the final moments of the film. Asheesh Kapoor is alright.

On the whole, TABLE NO. 21 is a commendable movie-going experience. If you are an extremely choosy moviegoer who watches select first-rate films a year, make sure TABLE NO. 21 is included on your listing. Strongly recommended!

Matru Ki Bijlee Ka Mandola Movie Review Details | Bollywood Movie Reviews

Matru Ki Bijlee Ka Mandola Movie Review Details :-

One looks forward to a Vishal Bhardwaj film for varied reasons. For this supremely talented storyteller/music composer, stories have preceded stars, which, to be brutally honest, is a rarity in Bollywood. Though he has worked with A-list names, he’s *not* made it a compulsion or regularity. Additionally, one cannot accuse him of peddling saccharine sweet romances, brain-dead comedies or fancy family dramas to his spectators. Experimenting with varied genres, pushing the envelope vis-à-vis the subject matter of the film and often focusing on small-town stories has been his forte. Also, the soundtrack remains fresh in your memory, even after his movies make an exit from cinema halls.

With MATRU KI BIJLEE KA MANDOLA, Vishal goes to the Indian hinterland yet again to narrate a brand new story. This film, like some of his past works, reflects the rustic flavor of villages/small towns. The supremely talented film-maker is often accused of making ‘dark films’, but MATRU KI BIJLEE KA MANDOLA is an exception. Vishal tackles a serious issue, but makes sure he injects dollops of humor this time. Be forewarned, the humor is not the leave-your-brains-at-home kind of stuff that we get served in most films. It’s quirky and unconventional.

MATRU KI BIJLEE KA MANDOLA is definitely not Vishal’s best work, though the master touch is evident in several sequences. The story barely moves in the first hour; there are stretches when the account begins to blur. Thankfully, the sequence of events and some exceptional moments in the post-interval portions save the film from tripping. At the same time, I wish to add that the film could’ve done with some judicious trimming for a stronger impact. It’s way too lengthy!

Set in the rustic surroundings of a village in Haryana, MATRU KI BIJLEE KA MANDOLA is about Harry Mandola [Pankaj Kapur], a wealthy industrialist who loves his drink, his daughter Bijlee [Anushka Sharma] and the unusual bond they both share with Harry’s man Friday, Matru [Imran Khan]. Much to her father’s delight, Bijlee is all set to marry Baadal [Aarya Babbar], the son of a powerful politician Chaudhari Devi [Shabana Aami]. This alliance, which is far from just being a simple union of two young people, becomes the seed for a story that brings twists and turns in the lives of Matru, Bijlee and Mandola.

One has come to expect genuinely hatke stuff from Vishal Bhardwaj and MATRU KI BIJLEE KA MANDOLA is no exception. Right from the casting to the setting, the plotline and the twists, even the music… you can’t draw parallels with any movie you may have watched. That’s one of the significant reasons why this motion picture thrives. But there’re shortcomings galore… The erratic writing [screenplay: Abhishek Chaubey, Vishal Bhardwaj; script consultant: Sabrina Dhawan], a few sequences are stretched for no reason, the uneven pacing distracts you from staying focused. In addition, like I pointed at the very outset, the humor is quirky and may not appeal to the hoi polloi. The Haryanvi dialect is another deterrent. The lingo remains faithful to the flavor of the region it chooses to depict, but a section of viewers will find it difficult to comprehend what the on-screen characters are expressing at times.

Having said that, it’s tricky to find any slipup in Vishal’s implementation of the material. The handling of a number of sequences is exemplary, especially the dramatic ones. Also, a few lines [dialogue: Vishal Bhardwaj] are truly side-splitting, not distasteful, although a few words ['Paincho'] may appear offensive. In fact, there are several gems in the narrative, making it difficult to pick just one and highlight here.

Vishal teams up with ace wordsmith Gulzar yet again. The duo has always believed in experimentation and MATRU KI BIJLEE KA MANDOLA is no exception. He amalgamates folk and western rhythms to create tunes that sound so distinct, but are ear-pleasing nonetheless. The soundtrack may not be mainstream [like 'Dhan-Te-Nan' or 'Darling'], but is pleasant nonetheless, with two standout tracks — the title number and ‘Oye Boy Charlie’. Cinematography [Kartik Vijay Thyagarajan] is top notch.

Each and every actor fits in delightfully in the structure of the tale. After DELHI BELLY, Imran faces the biggest challenge of his career as he attempts to portray a Haryanvi in MATRU KI BIJLEE KA MANDOLA. By transforming his looks and working hard on his dialect and body language, Imran shuns the chocolate boy image with this performance. The act takes him to another level, in a different league altogether. Anushka has emerged one of the finest actresses of her generation. Her character is truly complex: She’s confident and mischievous, yet vulnerable and naïve. Her smoldering looks coupled with a nuanced performance will win her praise. Her styling too catches your eye.

Pankaj Kapur enacts the flamboyant and boisterous part with gusto. The veteran goes all out for this role — singing, dancing, jumping into a pool — and it is this enthusiasm, besides a splendid performance, that merits the highest praise. Shabana Azmi is magnificent, as always. Her character changes colors constantly, an act only a powerful actress could’ve essayed with expertise, and Shabana takes to it like a fish takes to water.

Aarya Babbar is a complete revelation. He gets a meatier role this time and he handles it exceedingly well. Navneet Nishan is alright.

On the whole, MATRU KI BIJLEE KA MANDOLA holds your attention in parts, but that’s not enough. The first half is lackluster, while the post-interval part catches some steam. However, the excessive length plays a spoilsport. Below expectations!

Inkaar Movie Review Details | Bollywood Movie Reviews

Inkaar Movie Review Details :-

The moviegoers have developed a taste for innovative, out of the box stories. Topics that were once considered taboo are being attempted on the Hindi screen. Pushing the envelope within commercial parameters is the new mantra. Known for attempting diverse stories in film after film, Sudhir Mishra takes on a hitherto untold topic for his newest venture INKAAR: Sexual harassment in a work environment.

A film like INKAAR is extremely relevant, topical and relatable in today’s times. Sexual harassment is a reality and one needs to address it. We ought to discuss it — with students, with grownups, with working men and women, within and outside organizations. One has to be vigilant, on the guard against those indulging in it and getting away scot free. The ones who endure harassment are often scared to come out in the open, fearing that it may ruin their personal/professional life.

INKAAR may revive memories of DISCLOSURE [Michael Douglas, Demi Moore] and also Abbas-Mustan’s AITRAAZ and Madhur Bhandarkar’s CORPORATE, but INKAAR depicts the clash of egos most differently. Beneath the sexual harassment issue that it addresses, there’s a love story that comes to the fore during the culmination of the film. However, the writing isn’t watertight this time. More on that later!

At one of India’s leading ad agencies, the battle for the top job between Rahul [Arjun Rampal], a venerated advertising CEO, and Maya [Chitrangda Singh], his ambitious protégé, takes a dramatic turn when she files a sexual harassment complaint against him. It’s the job of the committee set up by the agency to hear both sides of the story and work through the layers of lies and accusations to find out who’s really telling the truth and who’s lying. The stakes are high because only one of them [Rahul or Maya] will walk away with their reputation intact. Will the committee really be able to uncover the truth?

INKAAR is a tough film to make and one must compliment Sudhir Mishra for sticking his neck out. Let me add, INKAAR is not just about sex. It’s about greed, ambition and power play. Generally, in a majority of Hindi films, it’s the man who seeks sexual favors, while the woman is projected as someone who’s meek. But the woman here is shrewd and spiteful. When the two sexes collide, what the spectator gets to see is not just the issue that the film raises, but also the games the ambitious play to reach the top spot.

Mishra is a sensitive storyteller. At the same time, he’s a director’s actor. Given the subject matter, INKAAR would’ve turned into a sleaze fest, a cheesy film, but the director handles the provocative moments elegantly. However, like I pointed out at the outset, the writing is gripping in parts, not in its entirety. A few episodes are engaging, but a couple of them lack the hammer-strong impact. Besides, the screenplay should’ve been exhilarating and engaging towards the resolution. Also, the track of the father [Kawaljit Singh] is a little difficult to comprehend. What was the writer trying to convey in those scenes? Dialogue are incisive, razor-sharp and acidic, depending on the situation.

INKAAR succeeds in bringing out the right emotions from its actors. Arjun Rampal displays remarkable understanding of the character. Post CHAKRAVYUH, which released a few months ago, this is yet another power-packed performance that makes you realize that this supermodel has transformed into a super actor. Chitrangda immerses herself into the role brilliantly. She uses her lustiness in a wicked, dominating way and that’s what catches your eye. It’s great to see Deepti Naval after a hiatus. The film has a collage of talented actors, which includes Vipin Sharma, Mohan Kapur, Asheesh Kapur, Shivani Tanksale, Gaurav Dwivedi and Rehana Sultan [cameo] and each of them stands out in his/her respective part.

On the whole, INKAAR is for spectators of serious cinema. Caters to a niche audience!

Race 2 Movie Review Details | Bollywood Movie Reviews

Race 2 Movie Review Details :-

Five years ago in 2008, the Tauranis and Abbas-Mustan delivered a taut, enthralling thriller in RACE. The intricate plot, the serpentine twists and turns in the narrative, good looking men and women double crossing each other, the dazzling locations and the adrenaline pumping stunts and chases left an ineradicable impression on the heart and mind of the moviegoer. Besides, the super success of the film at the BO fuelled rumors that its sequel was on the cards. The badshaahs of thrillers, Abbas-Mustan, had to come up with the next installment, carrying the franchise forward.

Not every movie that’s triumphant merits a sequel, but RACE is the kind of genre [besides its conclusion] that justifies a sequel. The second installment, as a result, comes with a weighty baggage. It has to outshine the first part in terms of content, ought to be more majestic in terms of look and canvas. Most significantly, it ought to outdistance the first part at the BO. So is the follow up a worthy fare or is it merely capitalizing on the popular brand?

Let me state at the very outset that RACE 2 doesn’t entirely meet the monstrous expectations. Abbas-Mustan, coupled with screenwriter Shiraz Ahmed, have put together a motion picture that’s stylish and engaging, with an international look and feel. The first hour is dedicated to the vengeance aspect, while the latter half focuses on the heist, which takes the graph of the film down. More on that later!

RACE 2 starts off from where RACE concluded. Ranveer [Saif Ali Khan] decides to avenge the death of his fiancée Sonia [Bipasha Basu] and for that he travels to Turkey, where he encounters some new people in this journey [John Abraham, Deepika Padukone, Jacqueline Fernandez, Ameesha Patel], besides some people he had encountered earlier [Anil Kapoor].

RACE 2 takes off with a bang. Literally. The chase that ensues soon after the blast, the introduction of the key players in the second installment, the sub-plots, the volatile games, the twists and turns… Abbas-Mustan and Shiraz Ahmed are on the right track all through the first hour. As a matter of fact, the first hour is very well knit. Everyone seems to be a double crosser here; the men are crooks and the women, devious. Also, Abbas-Mustan make sure they astonish you at every step. The twists and turns keep you captivated. In fact, just when you think this would be the last twist, another one leaps from nowhere, catching you by complete surprise. There’s hardly any dull moment in this hour.

The post-interval portions start with gusto, but the writing isn’t foolproof. A few episodes are electrifying [John's combat with Typhoon is remarkable]. Also, the heist is well executed. But the director duo and writer should’ve packed a solid punch in this hour, especially in its concluding act. The finale, inside the aircraft, should’ve been spellbinding. It evokes mixed feelings. The back story between Sonia [Bipasha] and Malik [John] is missing. Why? Additionally, the Anil Kapoor-Ameesha Patel track doesn’t work. One doesn’t mind double entendres, but some of the lines between them are in poor taste, frankly.

The soundtrack is lilting, though, I wish to add, the first part had better music. The background score [Salim-Sulaiman] is exhilarating. The action/chase sequences are top notch, with every stunt looking well choreographed. Cinematography [Ravi Yadav] is exceptional and the spectacular locales are a visual treat. Dialogue [Kiran Kotrial] are commanding at times, especially those between Saif and John. Editing [Hussain Burmawala] has always played an integral role in all Abbas-Mustan movies and the ace editor gives remarkable finish to the frames that have been filmed dexterously. The visual effects are tacky.

Like the first part, the characters in RACE 2 have grey shades. Saif plays the elegant guy with poise, while John enacts his part with gusto. As a matter of fact, Saif and John lend so much zing to their respective parts that it’s difficult to decide who’s better. Deepika has the best scenes in the film. She looks stunning and immerses herself into her character completely. Jacqueline looks gorgeous too, but her character is sidelined after a point. Anil and Ameesha’s parts appear forced. Aditya Pancholi is proficient. Rajesh Khattar does well. Bipasha Basu is hardly there.

On the whole, RACE 2 has a rocking first half, glam and glitz, great looking men and women, spectacular locales, extravagant making, adrenaline pumping action and of course, a solid brand that’s gonna make moviegoers flock the cineplexes initially, but the film lacks the sustaining power thanks to its uneven second half. The writing isn’t watertight, the film lacks a hit score, the climax is far from effective and overall, RACE 2 pales in comparison to RACE.