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Home > Bollywood Movie Reviews > Welcome Mix Of Comedy And Boring Sequences APK | December 23, 2007 Rating: **.5 (***** Very Good, **** Good, *** Fair, ** Average, * Bad) User comments Action: Abbas Ali Mughal. Art: Priten Patil. Background Score: Sajid Wajid. Choreographer: Ahmed Khan-Bosco Ceasar. Cinematography: Sanjay F. Gupta. Editing: Ashfaque Makrani. Lyrics: Sameer, Anand Raj Anand, Shabbir Ahmed, Ibrahim Ashq & Anjaan Saagri. Music: Himesh Reshammiya, Anand Raj Anand & Sajid Wajid. Production Designer: Rafi Kazi. Story, Screenplay & Dialogue: Anees Bazmee, Rajiv Kaul & Praful Parekh. Direction: Anees Bazmee. Producer: Firoz A. Nadiadwala. Presenter: AA Nadiadwala. Banner: Base Industries Group. Release Date: 21st December, 2007.  Welcome has Akshay Kumar, Nana Patekar and Anil Kapoor. It also has two gorgeous women-Katrina Kaif and Mallika Sherawat. Three decent songs and background music for Nana's character lifted from Shankardada MBBS. Finally, Welcome has forced comedy, a weak plot and an even weaker love story in it. Of course, it does provide a few laughs, has Nana Patekar in a refreshing role written just for him and great timing with the two AKs.Dr. Ghungroo has the responsibility of getting his nephew Rajiv married to a girl from a respectable family. Uday Shetty is a gangster who wants to get his sister Sanjana married to a respectable boy, which is difficult considering he has a flawed reputation. Rajiv and Sanjana fall in love and Ghungroo is happy with the match, but once he gets to know who she is, he tries to break the match. Rajiv promises his uncle that he will turn Shetty and his associate Majnoobhai into gentlemen so he can marry Sanjana, but the task on hand seems impossible. The plot, as mentioned before, is as weak as they come. It is a rip off from Mickey Blue Eyes. Okay, so this is one of those leave-your-brain in the locker and comedy sans logic flick. The love story is badly scripted, the premise is not convincing and the gags are shoddy. The car sequence does make you laugh but the editing is not up to the mark and the house hanging off a cliff in the climax is similar to the one in No Entry. All the threads seem to have loose ends. Sure, there are the good parts which redeem the movie and will be enjoyed by most viewers (especially as there are not many big/interesting releases now). Firstly, Nana Patekar. You realize once again that he is a powerhouse performer, and his role as Uday Shetty is really funny. Then there's Anil Kapoor as Majnoobhai, and the characters work for the movie. They are funny and likeable. Akshay Kumar, who has shown tremendous growth as an actor, has sadly been wasted in the movie. But still, it remains an Akshay Kumar movie. His chemistry with Katrina Kaif is charming, but only in the songs in this one. The three dons are fun, including Feroz Khan as RDX. The climax involving his son Lucky is dragged unnecessarily and after a while, it gets boring. There are the sporadic genuinely funny moments and good characterizations. The movie has a decent first half, and a mediocre second half.  Nana rocks in the movie, Anil coming a close second. Akshay has done much, much better work in the recent past and this is not his best acting-wise or in entirety. Katrina is a looker, that is an undisputed fact but she has miles to go before she can perform. Since her screen-time is brief, we just get to appreciate her looks. Same goes for Mallika, but she puts up a better show than Kaif. Paresh Rawal justifies his role, and he too, is wasted but has his moments. Feroz Khan has a tailor made role.The title track which comes at the end, two songs are just about okay. And the background used (copied) for Nana is good. The movie is a mix of boring sequences dragged too much or cut abruptly; and some hilarious moments that redeem the movie suddenly. There is absolutely no logic, either in the basic plot or in several incidents. Overall, it's comes strictly under Timepass and Forgettable, but for the ardent Akshay Kumar/Comedy Flicks fan, this is David Dhawan's poor cousin in terms of moviemaking. Not as consistent a comedy as No Entry though. |