Movie Review: Welcome To New York
WELCOME TO NEW YORK (WTNY), coordinated by Chakri Toleti and delivered by Vashu Bhagnani’s Puja Films discharges this week alongside Luv Ranjan’s SONU KE TITU KI SWEETY. WELCOME TO NEW YORK stars Sonakshi Sinha, Diljit Dosanjh and Karan Johar in crucial parts and has a whole escort of Bollywood A-listers making cameos as it is based against the setting of IIFA Awards. The film is intended to be a parody on the Hindi film industry and the two leads Diljit and Sonakshi play underdogs who become famous in Bollywood, notwithstanding originating from an unassuming foundation.
The film is about a messy recuperation operator Teji (Diljit Dosanjh) who longs for being an on-screen character and a ‘dhinchaak architect’ Jinal (Sonakshi Sinha) who needs to escape from her inauspicious life. They win a challenge and are chosen to grandstand their ability at the IIFA Awards by Sophie (Lara Dutta) who is a piece of the sorting out group skewer headed by Gary (Boman Irani). Sophie deliberately chooses the ‘two failures’ Teji and Jinal keeping in mind the end goal to settle scores with her Gary, who rejects her association in the organization. The whole film should be a comic drama of blunders with both Teji and Jinal winning Bollywood brotherhood’s hearts with their honest to goodness ability. What it ends up being is an entire distinctive story. In the middle of this is the fundamental VIP host of the show Karan Johar, who has his own arrangement of issues with the coordinator Gary. Be that as it may, in the meantime, Karan is likewise under risk of being seized by his carbon copy NY based hoodlum Arjun (Karan Johar) who needs to rebuff him for making sentimental movies. Riteish Deshmukh, who is the co-host of the show, utilizes this circumstance to his own particular egotistical advantage. In the middle of this disarray behind the scene, IIFA grants happen in New York.
Karan Johar, in his twofold part as Karan (the chief and big enchilada of Dharma Productions) and Arjun (the hoodlum) figures out how to keep the motion picture locks in. There is a great deal of self-referencing and self deprecative diversion (be it about his sexual introduction or his motion pictures) which makes you giggle at many spots. Diljit Dosanjh as the silly Teji Singh is cute. His comic planning is immaculate. Sonakshi Sinha is lost all through the film and isn’t exceptionally persuading. Indeed, even a fantasy grouping with Salman Khan does nothing to the character that is frail. Boman Irani as the worried, snarky numbskull dealing with the occasion looks exclusively perplexed as he flutters slowly around from casing to outline. Lara Dutta tries to spare the film as she does her part in what small amount scope she has been advertised. Salman Khan, Sushant Singh Rajput, Katrina Kaif, Aditya Roy Kapur and Riteish Deshmukh ‘s cameos watch constrained and out of the match up.
The principal half of the film figures out how to keep one connected with in light of the fact that the essayists Dheeraj Rattan and Sara Bodinar make some enthusiasm for the lead characters after they arrive in New York and there is a sure interest about who Karan’s doppelganger is and why he needs to hurt the Dharma Productions’ big cheese so awful. Executive Chakri Toleti’s satire of blunders turns out badly particularly in the second half since entire plot of the film leaves the window, because of the absence of an appropriate content.
Editorial manager Ritesh Soni has kept the film at two hours, five minutes as opposed to influencing it much more to long and comprehensive. The film’s music is forgettable with the exception of the last move number ‘Gasp Mai Gun’. Cinematographers Neha Parti Matiyani and Santosh Thundiyil complete a normal occupation.
Overall, WELCOME TO NEW YORK appears to be a barefaced underwriting of IIFA with a modest bunch of interesting muffles tossed in all over. The immaculate comic planning of Diljit Dosanjh and Karan Johar’s interesting interpretation of himself and the business go about as the redeeming quality. In the cinema world, the film will have exceptionally constrained extension.
