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Very disappointing...

I'll tell you why so serious

A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

The film never slows down or bores, plunging from one harrowing sequence to the next.

If you are into syrupy love stories or clichéd comedy movies then you might not enjoy this movie, but if you are a serious movie lover and enjoy the suspense genre then this movie is for you. Go for it.From the beginning the movie sets a dark tone by not being too melodramatic. You get an engaging and interesting idea about the five teenagers and can realistically connect with them. You get a "punch-in- the-stomach" introduction to Rajeev Khandelwal in his first scene in the movie. And both are linked by a well constructed that keeps you at the edge of your seat till the end of the movie. Whether it be the brilliant narration, the haunting Marathi background music, the claustrophobic chase scenes through the slums of Dharavi, the fun and zany lifestyle of the young and the rich, the amazingly realistic photography or the jaw clenching suspense. Its is all put together in a brilliantly packaged movie that's come after a long long time.For me this movie would be a milestone in Hindi movie history

Just when i thought i was done expecting something different from Bollywood, came along this HELL of a movie, pure desi, made in India!! Right from the start, Shaitan is extremely engrossing. I did'nt move an inch throughout the span, and ended it with a feeling of utter satisfaction and gratefulness of not having wasted my time in another stupid movie Bollywood's so full of.Shaitan has no huge starcast. But a small, and in this case, exceptional bunch of actors just gave unbelievable performances. Rajeev, Kalki and even the VJ turned actors, Neil and Nikhil have acted their parts great. But this isn't it. The story and the out-of-the-box movie-making is the heart and soul of Shaitan.Co-Written by Bejoy Nambiar, the director himself, this story is greatly presented. It shows the makers have understood the plot and have captured it just the way they wanted. But what deserves a special mention is the camera juggling the makers have so beautifully performed. Its the kind of camera movement and shot perspective one might expect in a crazy Hollywood movie. Its sheer pleasure to have witnessed such uniqueness in the presentation.Lot said, but its still incomplete without a special mention of, undoubtedly the highest point of the movie. The chase-cum-gunshot scene where the gang outruns a chase after having brutally beaten(probably killed) a man who tried raping Tanya(Kirti Kulhari). There's also a simultaneous gun fight involving Rajeev, Nikhil and Kenyans(!!) with an ultra catchy background score, the remix of classic Hindi song "Khoya Khoya Chand". The scene's breathtaking, to say the least.All in all, this is a must watch for those who are'nt afraid of trying something different for a change. Go watch it, its far from disappointing...

Any person who uses the zoom function on the Camera, or allows his Cameraman to do so is not worth his salt as a Director. Any person. At any time. It is inexcusable. Read any textbook on filmmaking and if you don't find this tenet underlined, you've got to go back to film school again. Surprised to find raving reviews by notable critics, but I suppose what these people were talking about was the inter-cutting sequences of the Khoya Khoya Chase Scene. It was meant to add to the anxiety, that the Inspector (God bless his mute marriage to the Van Gogh), had finally set his sights on them, when of course he hadn't. A brilliant piece of Cinematic Semiotics shot to hell by Nambiar. In my vision, not worth it, not when you don't have a story to tell.The plot is as hashed as a neighborhood role-playing by under-sevens on a summer afternoon (no wonder it's fun to make films, eh kids?!) and the screenplay does not exist. It doesn't. Primarily, the film fails to live up to the hype of drug-crazed yuppies who discover an inherent evil streak. They don't. They all turn out to be pretty conscientious young fellers who get into a jam. The drugs don't make them want to go berserk with violence, or do crazy macabre things, so no point blaming them. The story loses its steam right after plot point 1; act II never builds up the most basic of anxieties, (watch some Hitchcock, guys!) and then the director decides he wants to do a Guy Ritchie, right there, on the spot, with Rajat Barmecha, who, dare I say, excels in his cameo. Act III is not only predictable, it flat, and if that's a cliché, so is the end. The dialogs are generally insipid, and the acting, is mostly ham. Pavan Malhotra is his good self, Rajit Kapoor is well chosen, but the main characters, with the exception of Kalki, seem to be wading through treacle. Kalki shows her true worth as a theater actor. In fact she transcends the medium quite skillfully and is, wait for it.... reminiscent of Shah Rukh Khan in some of his earlier flippant ones like Yes Boss, where he carried the entire engine of the story on the strength of his acting. In retrospect, the screenplay ought to have been reworked about 17 more times, the back stories developed in detail, and someone should have read the Basics on Directing Fiction. I sat through the film and the only anxiety that permeated my being was the worth of my hard earned Rupees falling. Then the film ended, and the screen flashed with those revelatory words: It's a Getaway Job! and I realized I had been had. A brilliant marketing job, guys.Perhaps the problem with Indian Cinema is deeper rooted than that which meets the eye. Pun intended. If we are unable to comprehend the referential codes that make up alternative cultures, including the pseudo-modernism of the urban youth, who themselves merely imitate what television feeds them, then will we not be left with a caricature of human society, a facsimile at best? And a poor one at that.

Shaitan speaks about the devil inside each of us, the devil who might take over us when we our own life is in trouble. It also speaks about the corrupt system, its flaws and the people who manipulate the system making use of their indecipherable power.The movie revolves around a group of five young troubled spoiled brats in Mumbai, who as usual have issues with their lives. Spiced up with some offensively witty scenes and dialogues, which is a good thing considering the plot of the movie, the movie is targeted towards the youth and does offer what any regular new age individual would look for in the movie. All the five lead actors seemed appropriate for their characters but for me Gulshan Devaiya as K.C. did a fabulous job among the five. Apart from him, Rajeev Khandelwal performed flawlessly in playing the role of a cop and I was immensely pleased to see Raj Kumar Yadav as a shady police officer. His part was short but he could not have done it better, in fact, he was the perfect choice for that character. But even though the flick was filled with good performances all around and even better direction, it lacked excitement. The whole dish didn't seem to tempt me anytime throughout the meal. It was predictable at times and the idea of rebellious spoiled brats is becoming stale now. This movie is definitely worth watching once or maybe twice for some people, but it is nothing extraordinary and didn't leave me wondering or wanting for more.