This neatly packaged offering from editor-turned-director A Muthu borrows its plot from that Jennifer Aniston rom-com, Picture Perfect, which itself was not among the most fantastic films dished out by Hollywood.

Tera Jadoo Chal Gayaa is the story of a young advertising film-maker Pooja (newcomer Keerthi Reddy) who has defined her goals quite clearly.

One, she just has to win this award for advertising in the midst of a roomful of badly-dressed extras. And two, she has to hook some richie-rich, suited-booted idiot who will take her as his bride. Sadly for Pooja, neither of her dreams seem like they’re going to fructify soon. She simply can’t make it to work on time every morning, and she can’t find that Mr Moneybags boyfriend either.

That doesn’t stop her from having a ball in life, incidentally. Begging a few days off from work to attend a friend’s shaadi in Agra, Pooja packs her bags and heads off for a visit to the city of the Taj Mahal. There she meets Kabir (Abhishek Bachchan), a strapping six-foot-something video cameraman who finds himself smitten by her the moment he spots her. Mistaking her friendship for affection, Kabir allows himself to dream of marrying her someday. But Pooja, quite naturally, has bigger plans chalked out for herself.

Predictably, Pooja returns to good ol’ Mumbai, unaware that she has found an admirer in Kabir. Back to work later than she had promised, she’s at the verge of losing her job, when a co-worker (Johnny Lever in one of his most atrocious roles ever) bails her out by lying to their boss that the delay in her arrival was only because she got engaged in Agra. Using photographs of Pooja and Kabir together as evidence to this lie, her colleague saves her job. Pooja ain’t too pleased about this, but realises it can’t do much harm since Kabir isn’t likely to come to Mumbai, and besides, it did help get her the job back after all.

Of course, things can’t go so smoothly forever, can they? Just when her life finally seems all sorted out, Kabir arrives in the city of dreams to tell Pooja of his love for her. And that’s not all. Pooja, who is as yet unaware that Kabir has come searching for her, seems to have found her Dream Date in her boss’ good-looking son Raj (remember Sanjay Suri from Pyaar Mein Kabhi Kabhi?) Only, he thinks she’s attached. Wot to do now? Cleverly, Pooja asks Kabir himself to help her out.

Not a terrible story you would think. And it really isn’t, but able direction might have helped elevate the film to a higher level, certainly. Director Muthu, evidently high under the influence of mentor David Dhawan, relies on a cliched screenplay, and entirely unoriginal ideas. On the positive side, the film has a lavish look, splendid camerawork (gosh, those lush European locales!) and top of the line music. Ismail Darbar follows up his Hum Dil De Chuke Sanam score with yet another winner. Almost each of his eight tracks are memorable and applaud-worthy. But alas, they’re poorly used in the film, arriving at every available opportunity, often too close on the heels of each other.

Keerthi Reddy, the waif-like debutant to Hindi movies, deserves full marks for looking adorable on screen. In the histrionics department, however, she has a long way to go. Raw, and mostly under-directed, Reddy needs to be trained under a more experienced hand before she can display her true potential on camera. Meanwhile, if there’s one reason you sit glued to your seats through these three long hours, it’s Abhishek Bachchan, who lets his hair down, loses his inhibitions, and shows his stuff. In clear contrast to his role in Refugee, Abhishek carries off lighter stuff with equal ease. The young actor doesn’t once flinch even when participating in some of the film’s more unconvincing scenes, thus proving that the mark of a good actor lies in appearing comfortable even in the most embarrassing of situations on-screen. He consistently reminds you of his father, especially in those trademark UP-type songs and maara-maari sequences. A tad overweight, but one can safely predict that with time he will shine.

You leave the movie with mixed feelings. Despite the weak climax, there’s enough in it for mass appeal. But pray, when can we expect a movie which will please just about everyone?
— RAJEEV MASAND

Me, Myself and Irene
Rating: * *

E vidently encouraged by the success of their last film, the gross-out comedy There’s Something About Mary, the Farrelley Brothers have gone one step still ahead with their latest effort.

It’s the story of Charlie (Jim Carrey), a Long Island patrol trooper who after years of being taken for granted, finally erupts one day, and releases a split personality in the form of Hank (Carrey, again), a foul-mouthed, obscene guy who is poles apart from his other self. Trouble begins to brew when both Charlie and Hank fall in love with the same girl, Irene (Jerry Maguire’s Renee Zellweger).

If you’ve ever wondered what exactly a black comedy is, take a look at this film. Replete with obscene gags, racist remarks, digs at the handicapped and mentally challenged, and Jim Carrey at his most irritating behaviour. While you might have liked him in The Mask and particularly in such films as The Truman Show and The Man On The Moon, in this one he brings back memories of such parts as the ones he played in Ace Ventura and The Cable Guy.
Me, Myself & Irene is recommended only for those who will tolerate anything in the name of comedy.

Return to Me
Rating: * *
MUSH, sweet mush. That is what Return To Me is all about. Categorised as a

romantic comedy, the film is about finding true love.

Bob (David Duchovny) and Elizabeth Rueland are one happy couple. Just when life seems perfect, Elizabeth dies, leaving behind a distraught husband and a heart donor card. Both eventually find their way into Grace Brigg’s (Minnie Driver) heart. Suffering from a congenital heart defect, Grace gets a lease of life with Elizabeth’s donor card. She also happens to bump into Elizabeth’s husband and falls in love with him.

So far so good. But director Bonnie Hunt (who played supporting role in Jerry Maguire) has a longer story to tell. See, Bob doesn’t know that Grace’s beating heart is actually his wife’s. This little secret is the source of all the uncertainty in the film. Of course, things do get sorted out by the end.
X Files fans, here is your chance to see Duchovny try and step out of Fox Mulder’s shadow and do something different. Watch him work his charm on talented Driver. The chemistry works and the film has its moments. Slurpy stuff.