Takethispunch
In the year 1990, Iqbal Haroon Khan (Jackie Shroff) runs The Great Indian Circus in Chicago, which has fallen on bad times. Anderson's (Andrew Bicknell) bank — Western Bank of Chicago — which has lent money to Iqbal Khan, decides to close down the circus when Khan is unable to repay the loan. Young Sahir (Siddharth Nigam), the little son of Iqbal Khan, pleads with Anderson not to shut down his father's circus, as he and his father would soon be able to turn the corner. But Iqbal Khan's presentation before the bankers and Sahir's pleas don't help. Iqbal Khan commits suicide in front of the heartless Anderson, leaving Sahir devastated.Now in 2013, Sahir (Aamir Khan) has still not forgotten the high- handedness of the bank and swears revenge. He robs various branches of Western Bank of Chicago, leaving behind a message in Hindi and a clown mask. During the chase, he runs from top to the bottom of the Western Bank of Chicago building. As the Chicago Police Department comes to the scene, he runs into a van as they begin to surround the vehicle. Sahir jumps out in a BMW K1300R after a little explosion.
jazznbh
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.
johnnbh
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.
kaurmanpreet-92517
Once Sahir reaches adulthood, he begins to systematically target branches of Anderson's bank, each time causing hundred dollar bills to rain from the sky, and escape using an array of skills, from sleight-of-hand to motorcycle racing. At each robbery, Sahir leaves a message in Hindi and a clown mask, which leads the Chicago police to bring in Jai and Ali so Jai can frown at things and Ali can flirt embarrassingly with the flower of Chicagoan womanhood. Jai initiates a game of cat-and-mouse with the master thief, thinking that his ego will lead him into a mistake out of pique, but Sahir effortlessly turns the tables on the police, turning them into unwitting allies.The moment at which Jai realizes he's been had immediately precedes a game-changing (to put it mildly) twist, which shouldn't be spoiled. The second half of "Dhoom: 3" features a surprisingly adroit, if not terribly subtle, interrogation into the the morality of operating outside the law for a good cause. The movie stacks the deck a bit by having the banker be such a loathsome (and implicitly racist) bastard, but Aamir Khan and Abhishek Bachchan do a compelling job exploring the various moral and ethical colors involved in the cops-and-robbers game. Khan brings out the best in Bachchan as an actor, with his performance in "Dhoom: 3" finally shorn of the awkwardness and dullness into which his work in the first two movies all too often regressed. This, again, is a testament to the control Khan exerts over the movie: never heavy- handed, but absolute.
AD
