CAST:

HRISHITAA BHATT / ANUJ SAHWNEY / FARID AMIRI / SAMIR AFTAB / MADHURI BHATTACHARYA / PINKY HARWANI / AREESZ GANDHI INTRODUCING: SANDA CAKTAS

CREW:

PRODUCERS: SUNIL PATHARE / RYAN SEMELHAGO / AMIT KUMAR MAHOTO / DEVANG DHOLAKIA

DIRECTOR: DEVANG DHOLAKIA

ASSOCIATE PRODUCER: FARID AMIRI

EDITOR And CREATIVE DIRECTOR: DEEPAK NAIDU

EXECUTIVE PRODUCER: LEKHRAJ SIRASWAR

CINEMATOGRAPHER: ARVIND SINGH

MUSIC: DABOO MALIK

LYRICS: PANCHHI JALONVI

SONGS ARRANGED AND PROGRAMMED BY: AMAL MALIK PRODUCTION DESIGNER: FATIMA

COSTUMES: VEERA KAPUR

CHOREOGRAPHY: LONGINUS CAMPAIGN

CREATIVES: ABLE And WILL

PROCESSED AT: QLAB

SYNOPSIS:

Rahul, Rocky, Amay, Priya, Antara, Zoha were the best of friends in a Pune University... It’s been three years since they graduated and parted ways... they were all completely out of touch, being busy in their respective careers... Now Rocky is getting married in Goa to his girlfriend Marriane who is from Croatia... this is the time of reunion... old friends reunite to join Rocky on his wedding in Goa... but things are not the same with Rahul, Priya and Zoha... their personalities have changed, their ideologies have changed, their communities and goals have changed while Amay and Antara are just the same ...as they set off on this trip, things start coming out in the form of conversations and activities... they all witness Marriane backing away from the commitment of marriage leaving Rocky bereft... Now does Marriane come back? Do they get married?

Yet, there's no denying that The Last Lear has its share of engrossing moments. A few individualistic sequences are noteworthy as also the portrayal of characters by some prominent names. But that's not enough!

After a series of watchable and avoidable fares, Vikram Bhatt is back with a vengeance in his latest endeavour. It may not be the most eerie experience, but it has its share of terrifying moments that one expects from a film that talks of supernatural forces. The best thing about 1920 is that the culmination to the story is most compelling, which is so vital for a horror-mystery.

Debutante director Arjun Bali's choice of the subject may be debatable, but you can't shut your eyes to the fact that he has handled the subject with dexterity. In fact, a theme like this would've blown into smithereens had the captain of the shop been an incompetent storyteller.

Hijack talks of terrorists and terrorism, but there's an undercurrent of emotions running all through. What limits can a father cross to save his child, is one question that Kunal Shivdasani raises in Hijack. The terrorism aspect isn't new, what with every third Hindi film having its take on terrorism. But Kunal's execution of the material places Hijack in the watchable category. The high-octane drama inside the aircraft as also outside the aircraft [in the climax] makes a difference. Hijack is very Hollywoodish in terms of execution, but Hindustani at heart.

Agreed, a film like Tahaan caters to a niche audience. But its simplicity is its USP. There's another reason to go for it: Child artiste Purav. You can't take your eyes off from this sensational discovery of Sivan.