Super Hit Comedy Movie of Aamir and Salmaan.
It is a story of two boys Amar (Aamir Khan) and Prem (Salman Khan) who want to get rich quickly by taking all the short-cuts in the book. Amar is the son of an honest barber; Murli Manohar (Deven Verma) in Mumbai, while Prem is the son of Bankeylal Bhopali (Jagdeep), a hardworking tailor in Bhopal. Both Amar and Prem sell their fathers shop and house respectively, and zero in on a hill station where a beautiful wealthy heiress Raveena (Raveena Tandon) has come from London accompanied by her friend cum secretary Karishma (Karishma Kapoor) with the intention of getting married to a virtuous Indian. The lucky man to wed Raveena will inherit her father Ram Gopal Bajajs (Paresh Rawal) entire wealth. Amar and Prem see their get rich quick chance and woo Raveena, each trying to out do the other. Enter Teja (Paresh Rawal in a double role) whos sole ambition in life has been to grab his twin brother Ram Gopal Bajajs millions. So Teja plants Bhalla. (Shehzad) and Robert (Vijoo Khote) in Raveenas house, to help him in fulfills his ambition. As the story progresses it turns out to be a mad chase from Ram Gopal Bajajs wealth, full of humor, romance thrills and chills. Will Raveena & Karishma see through Amar and Prems mischievous intentions? Will Teja succeed in his motives? See it all in ANDAZ APNA APNA

Subhash Nagre, an influential, Godfather-like man has two sons: Vishnu, an irresponsible film producer more interested in actresses than in work, and Shankar, recently returned from studying in the U.S. When someone frames Subhash for murder, he is forced to reexamine the source of his power and his relationship with his sons.

Amar Akbar Antony starring Amitabh Bachchan, Vinod Khanna, Rishi Kapoor, Praveen Babi, Nitu Singh, Shabana Azmi is a blockbuster entertainer about the union of three brothers separated from each other and their parents, avenging the man who separated them. This film set the trend of films based on the lost & found theme. A dozen odd films were made on this theme but no film succeeded the way Amar Akbar Anthony did. Pran and Nirupa Roy get separated accidentally with their three kids. The kids are adopted by persons of three different religions. One is a Hindu, the second a Muslim and the third a Christian. One boy grows up as Amar, the other as Akbar and the third as Anthony. Amar is a police officer, Akbar a tailor and Anthony, a good-for-nothing. After a series of trials and tribulations, the lost and disintegrated family re-unites. The film ends with their three sons getting married to their respective lovers.

Hera Pheri is a hilarious comedy where three innocent dreamers stumble upon a chance to earn lots of money but the wrong way. Shyam – Sunil Shetty – comes to Mumbai to apply for a job. But there is another applicant for the same job – Anuradha Panikkar – Tabu. Shyam decides to fight for his job and starts residing as a paying guest with Baburao Apte – Paresh Rawal, a garage owner. Raju – Akshay Kumar – is Baburao’s other paying guest who disapproves of Shyam right from the start. These are four people in dire need of money and only a miracle can save the situation. The miracle occurs in the form of a wrong number phone call. Kabira, a goon, has kidnapped the granddaughter of Devi Prasad, a rich businessman and is calling on Baburao’s phone number by mistake and demanding ransom. Raju hatches a daring plan – to talk with Kabira posing as Devi Prasad, and to talk with Devi Prasad posing as Kabira, ask him for double the amount of ransom money which Kabira had originally demanded save the girl, give half the money to Kabira and keep the rest. They carry out their plan with courage, but being innocent at heart they fear they will be duped. Though their plans fail at the end, their innocence and courage wins them back their respect & wealth.

Dayal Singh [Jackie Shroff], a widower, raises two very different sons; Aman [Arbaaz Khan] is formally schooled to become a city-based lawyer, while Jigar [Sohail Khan], through lack of funds and inclination towards anything other than farming, is kept by his father’s side.

When Sohan Seth [Dalip Tahil], a shrewd businessman, convinces many beleaguered farmers to sell their land for his commercial interests, it shatters the harmony of the village and Dayal’s family is jeopardized. Aman and Jigar are pitted against each other. The ground at their feet, is it motherland or simply property?

Surprisingly, KISAAN catches your attention from the word ‘Go’. The sequence at the panchayat[Sohail Khan's intro] only enhances your interest in the film, but the film actually takes off when Arbaaz starts drifting away.

At the same time, KISAAN has its share of loose ends. Times have changed and the writers could’ve updated the content to suit the current times. Also, Arbaaz’s change of heart towards the end looks like a complete compromise, from the writing point of view.

Puneet Sira has handled many a dramatic scene well. This is his finest work thus far. Daboo Malik’s music is of a mixed variety. A couple of tunes are nice – ‘Humko Kehna Hai’ and ‘Neechhe Saari Duniya Hain’. However, the visuals in the remix version of ‘Mere Desh Ki Dharti’ look out of sync. The makers should’ve maintained thedesi look. Neelabh Kaul’s cinematography is nice. Action scenes [Mahendra Verma] are rustic, which gel well with the mood of the film.

Jackie is in form after a long, long time. Arbaaz doesn’t make much of an impact, but Sohail does. In fact, Sohail is only getting better with every film. Dia enacts her part well, while Nauheed is alright. Dalip Tahil is as usual. Sharat Saxena and Vishwajeet Pradhan don’t get much scope. Romeo is passable.

On the whole, KISAAN springs a pleasant surprise. At the box-office, the film is targeted at the Hindi belt and the single screens specifically. Also, this one deserves to be tax-exempted!

Chalo, let’s get drunk with one more heady potion of Pyar, Imtiaz ishtyle, you tell yourself before sauntering in for his latest, Love Aaj Kal.

And no, you aren’t disappointed at all. Because, this time, the effervescence and adrenalin rush of impetuous love, resonant in the romance of Geet and Aditya in Jab We Met, has been replaced by a more serious and realistic take on modern love. The film literally holds up a mirror to the commitment phobia of the young, successful professionals who keep changing their status from `committed’ to `single’ on the sundry social networking sites. Much to the chagrin of their dads and mums who fail to understand this emotional dilettantism and keep badgering them with love-of-a-lifetime cliches.

The secret of director Imtiaz Ali’s film making lies basically in three primordial areas. Instead of relying heavily on a three-hour long script, he chooses to concentrate on his dialogues: crisp, concise and completely in sync with aaj ka lingo. All of Saif’s babblings about love sans marriage and Deepika’s discourses on career and cumbersome commitment are straight out of real-life ramblings in pubs, discotheques and coffee shops.