New York

New York opens around 7 years after the 9/11 attacks with Omar (Neil Mukesh) being wrongly held captive by the FBI. Investigating officer Roshan (Irrfan Khan) offers to go easy on Omar if he agrees to spy on old-time friend Sameer (John Abraham) who the FBI suspects to be a terrorist.

In contrast, Sameer himself narrates his distressing past to Omar of how he was illegally detained and brutally tortured by the FBI for 9 months, immediately after 9/11 and victimized for being a Muslim suspect in New York.

The terrorism theme comes into picture predominantly in the second half. The physical and mental abuse on innocent Muslims, imprisoned merely on suspicion and their consequent repercussions are effectively portrayed.

But beyond that Aditya Chopra's story doesn't work towards the rehabilitation of the disturbed mind that has taken to the wrong path. In a way, the film turns the villain into more of an antihero imparting him no character change. Above that the climax where the FBI headquarters is held as the terrorist target doesn't go beyond Fanaa frontiers. The terrorist is terminated but the topic of terrorism it tackles keeps long lingering.

All the three lead protagonists of New York are Muslims affected by the 9/11 episode in varied ways and to different degrees. Sameer turns a scapegoat of the situation; Omar's identity gets him in trouble, while Roshan's character (a Muslim investigating on terrorism) offers that ray of hope prevailing amidst discriminating humankind.

The issue of global terrorism somewhere goes for a toss with the film turning into a human emotion drama. As the victim is released from prison and his atrocities are still fresh in your mind, the intensity of his trauma is diluted with a love song stuffed in. The couple further goes on to make love and start a family. More mush comes into picture as Omar confesses his campus feelings to the married Maya (Katrina Kaif) amidst the pre-climax mayhem. Thankfully the traditional Yash Raj triangle is averted. The side-track of a frustrated Muslim driver (Nawazuddin) committing suicide doesn't contribute to the plot and could have been avoided.

John Abraham does well in his frail characterization which could have been much more convincing, intense and effective. Neil Nitin Mukesh looks rehearsed in some scenes but doesn't disappoint. Irrfan Khan never misses any punch in his lines and is as expressive as ever. Katrina Kaif doesn't get the meatier portion and contributes to the sloppy effect.

You just wish the film had a lot more grit, the characters had a lot more depth and the treatment had a lot more sensitivity. Alas New York fails to break new grounds on that note.

Zara Thrilling, Zara Timepass-Aa Dekhen Zara

'Aa Dekhen Zara’ is a fast-paced, romantic musical thriller that promises some great edge-of-the-seat action. Neil Nitin Mukesh and Bipasha Basu played the lead role on-screen for the first time, in Jehangir Surti's directorial venture - 'Aa Dekhen Zara'. The movie is produced by Viki Rajani.




Neil Nitin Mukesh plays the role of Ray Acharya Ray who is a photographer by profession and struggles to establish his name and his identity. His luck starts going from bad to worse, by that he inherits his grandfather’s (Biswajeet) special camera which changes things overnight for him.

The camera has the unique ability to reveal the future through the photographs taken from it. Ray He uses the camera, not only to save his girlfriend's life, but also to make millions by clicking lottery tickets and race horses to know their future.

Bipasha Basu plays the role of Simi who is a attractive, sizzling DJ. An independent woman, she has a mind of her own. Everything is hunky dory between Ray and Simi and the duo seem headed for a 'happily ever after' life.

As they say, with great power comes great responsibility and in Ray's case, also great danger. He must now face up to the dark side of reality and win not only against the evil forces but also against fate.


It's a smart new concept. The film tries to give you something new, but the lack of creative imagination while writing the screenplay, especially the second half, ends up making the film just about an average watch. Enter at your own risk.