Dhoom 3 (2013)

I'll tell you why so serious

Story: It's very simple but honestly that is fine.

The best films of this genre always show a path and provide a takeaway for being a better person.

The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

When the writer of the first two films of a successful franchise takes the director?s chair for a third shot at more of the same that is exactly what one gets: more of the same. This time around, the bikes, babes and brawls formula is dished out even more liberally than before.So, for the most part, Dhoom: 3 is a high-voltage action flick that relies squarely on known methods of the genre. Actually, familiarity of this kind isn?t such a bad thing. Since the audience knows what is coming and does not have too many unsettling surprises sprung at them, acceptability is that much easier. Despite being overlong (the runtime is 172 minutes) and a tad laden- footed at times, Dhoom: 3 stays true enough to its avowed intent to be passably engaging.Writer-director Vijay Krishna Acharya, who scripted Dhoom and Dhoom 2, mounts this one on a scale that is no less unapologetically lavish. He pulls off the implausible stunt sequences with a striking degree of flair ? and a lot of obvious help from the CGI department.Had the director invested as much energy on developing the characters beyond superficial levels and investing the dramatic situations with more depth than what one encounters in standard revenge dramas and cops-and-robbers capers, the third installment might have towered above the first two. A lot of time in the first 50 minutes or so of Dhoom: 3 is wasted on the protracted ?entry? scenes that are apportioned to the principal members of the cast. The bigger the star, the longer is the prelude. Aamir Khan, needless to say, takes precedence over everyone (and everything) else in the film, including occasionally the script.From the word go, he gets to ?perform? an array gravity-defying acts and motorcycle stunts that are difficult to describe. What?s more, Dhoom: 3 has the services of a full-fledged tap choreographer so that the star of the show can go beyond the bikes and biceps act and also do a Fred Astaire sans a Ginger Rogers. But since it is Aamir, it is all tip-top. Because he moves from a scowl on the face to an occasional sparkle in the eyes and back to a stoic, deadpan countenance with effortless ease, these longish sequences do not run completely out of steam even when they overstay their welcome.Katrina Kaif, too, gets more than her share of an eye-popping opening burst. It comes in the form of a hyper-dance sequence in which she starts off in a modest dungaree, discards pieces of clothing one by one as the act heats up and eventually strips down to a sensuously skimpy outfit while Aamir?s suitably impressed circus owner watches utterly transfixed. But the film could definitely have done without the gratuitous opening scenes involving Abhishek Bachchan and Uday Chopra. We all know what tough cop Jai Dixit and his skirt-chasing sidekick Ali Akbar are all about. Who would have needed another peep into their run and chase routine? First up, the duo takes on a bunch of Mumbai goons led by a man who is modelled on a Tamil potboiler baddie, first on an auto-rickshaw and then, you?ve guessed it, on a souped-up motorbike. They are then deployed in faraway Chicago to stop a super-thief, Sahir (Aamir Khan), who has one particular bank on his radar.This bloke is no ordinary anti-hero. He raids the bank?s key branches and triggers a shower of greenbacks before making good his escape.He is a magician and circus performer who pulls the wool over the eyes of the most hard-nosed bankers and the toughest Chicago cops. So the Yankees need an Indian policemen and his bumbling aide to nab him. He has learnt the ropes from his deceased dad, Iqbal (Jackie Shroff in a cameo), whose loan defaults put paid to his dream of keeping The Great Indian Circus in business. The head honcho of the Western Bank of Chicago intones: ?I am a banker. Everyone hates bankers.? He does not dare add: no one more so than the wily Sahir Khan.Dhoom: 3 is fun while it lasts, but it might not leave the viewer with the sense of having watched a film that is truly unique. But watch it all the same for Aamir Khan and the hi-jinks.

Twenty minutes into Dhoom 3, reeling from the assault of cinema so amateurish it's hard to believe it was put together by grown men, I began to ask myself precisely what this film was trying to be.There was an annoying kid borrowed from the melodrama of Subhash Ghai movies, complete with a moist-eyed Jackie Shroff. There were the cheesiest of dialogues, Kader Khan in Dickensian mode.There were stunts seemingly executed in slow-motion and shown to us even slower, resulting in yawnworthy chase scenes. There was Aamir Khan running down the side of a building for no apparent reason. Everything -- repeat, everything -- looked too goofy to be either thrilling or realistic or compelling or even plain fun.And then it hit me. Dhoom 3 is a children's film made for children who've never seen a film.How else can you explain this famine of originality? How else can you possibly justify the lack of a single interesting scene right up to the intermission? And how, after that, can you account for Aamir Khan's blatant exploitation of yet another Christopher Nolan masterpiece that the actor (by his own admission) doesn't understand?Look here, I liked the first and second Dhoom films. The first was brisk enough to breeze by, the second was sheer masala but presented well, an utterly preposterous but very good looking film. The reason I've been looking forward to this film, however, was the fact that I was one of the half-dozen people on the planet who actually liked the director's first film, Tashan. All I wanted from Vijay Krishna Acharya's third installment, then, was a film that made like a firecracker and went boom -- even if it didn't make sense.

Print PageFrom the beginning, the "Dhoom" films have invited comparison to the "Fast & Furious" franchise, with John Abraham's charismatic villain/antihero in the first giving way to Hrithik Roshan's even more charismatic variation in the hugely successful sequel. One feature unique to the "Dhoom" series, though, most decidedly continued in the third and latest installment, is the ostensible heroes—tough cop Jai Dixit (Abhishek Bachchan), and his crook- turned-cop partner Ali Akbar (Uday Chopra)—being mentioned secondarily, if at all. In the first film, John Abraham was simply more interesting than they were, but over time, the series has evolved consciously into an exploration—between action sequences and songs—of the antihero as an archetype, with bigger and bigger stars cast. In "Dhoom: 2," it was Hrithik Roshan, and now, in "Dhoom: 3," no less a worthy than Aamir Khan.

No creativity, unnecessary emotions were shown and tried to show places without much focus on the plot. The actor was shown always finished stealing and no details were provided or extended focus given on the stealing. The core of the Dhoom series is stealing with style and the chase, strategy. But nothing had come out remarkably. Although there are few good dance sequence appeared in the movie, hardly the entry performance by Aamir khan was able to make an impression rather felt over done. The circus and double role part of the story was simply copied from The Hollywood movie The Prestige. Its shame that the movie has nothing new for the audience.