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Mallika Sherawat's glam her career in both Hollywood & Bollywood: She is undoubtedly one of the sexiest actresses Bollywood has seen. Mallika Sherawat who started her career with a bold film like Murder and made LA her second home for a Hollywood career is nowadays scrambling for a toehold in Bollywood.

After the debacle of her film Hisss, it’s heard that no producer is asking for Mallika. The sultry actress was in LA for two years, and she only managed to get Politics of Love as an international project. Back in Bollywood, she only has Double Dhamaal in her hands. The actress has started sending feelers to the producers and directors, but that too is not helping her much.

The actress is also not in demand for performances for the New Year’s lavish parties. Several B-town gals earn whopping sums by performing just for 1 or 2 hours.

It can be recalled that a few years back, Mallika was paid approximately Rs 50 lakhs for just half-an-hour performance at JW Marriott New Year bash.

Where Mallika’s sssheen gone?

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Peepli [Live] : Movie Review by Taran Adarsh

When Aamir Khan produces a film, or is associated with any film in the capacity of an actor, be prepared for the unpredictable. Films like TAARE ZAMEEN PAR and 3 IDIOTS took pot shots at the education system in India and PEEPLI [LIVE], directed by Anusha Rizvi, is a tongue-in-cheek satire on the farmers' suicides and the role of vote-hungry politicians and the over-enthusiastic, TRP-seeking desperate electronic media jostling for eyeballs.

Come to think of it, the concept [farmers' suicides] would instinctively translate into a serious, thought-provoking film. But PEEPLI [LIVE] takes a grim and solemn issue, turns it into a satire, garnishes it with populist sentiment and makes a far greater impact than a mere documentary, had it tackled the burning issue. In fact, like all Aamir Khan films, PEEPLI [LIVE] marries realism with a winning box-office formula most brilliantly.

A sad fact of our society is that bad news attracts instant attention. In PEEPLI [LIVE], an impoverished man offers to commit suicide so that his family can benefit from a government grant - a dark subject matter which is dealt with in a delightfully humorous manner. In fact, it's a terrific satire about a troubled India, the shining India, the industrialised India that's rarely depicted on the Hindi screen.

PEEPLI [LIVE] focuses on the poorest of the poor in India and it not only highlights the plight of a farmer in a tiny corner of a giant country, but also throws light on the varied people who exploit the situation to their advantage, right from the politicians to the bureaucrats to the television reporters to the local people. In fact, PEEPLI [LIVE] makes a scathing attack on the functioning of media in India and how media persons, depicted as vultures, generally stoop to the lowest levels to increase the ratings of their television channel/show.

The best part is that at no point does the film gets preachy or starts offering solutions to the grave issue. It's a mere tool that the makers have used to discuss bureaucracy, the rural and urban divide and lack of concern of the administration.

Final word? This tragi-comedy, a brilliant satire, is not to be missed.

Natha [Omkar Das Manikpuri], a poor farmer from Peepli village in the heart of rural India, is about to lose his plot of land due to an unpaid government loan. A quick fix to the problem is the government's program that aids the families of indebted farmers who have committed suicide. As a means of survival, Natha chooses to die. His brother [Raghubur Yadav] is happy to push him towards this unique honour.

Local elections are around the corner and what might've been another unnoticed event turns into a cause célèbre, with everyone wanting a piece of the action. Political bigwigs, high-ranking bureaucrats, local henchmen and the ever-zealous media descend upon sleepy Peepli to stake their claim. Natha's mother [Farrukh Jaffer] screams at his wife [Shalini Vatsa], while his young son urges papa to go through with the suicide so he can use the money to become a policeman.

One TV journalist, in a desperate search for a new angle, tries to examine Natha's faeces to determine his emotional state. Nobody seems to care how Natha really feels.

PEEPLI [LIVE] tells the story of today: Rural society, the games politicians play, the bureaucracy and the manipulative electronic media. It's a well penned and well executed film that deals with a serious issue in a witty and entertaining manner. Although very real, it creates a world full of vivid characters and incidents and keeps the viewer engrossed throughout.

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Aisha : Movie Review by Taran Adarsh

AISHA holds appeal for the youth mainly and there's a strong likelihood that this segment of movie-going audience will fall for its charms.

Recall the age-old adage: Marriages are made in heaven. Consummated on earth. But haven't we encountered lots of people in real life who try to set things up between friends/acquaintances? In fact, they take upon themselves to make matches and meddle in other people's affairs. That, in a nutshell, is the plotline of AISHA.

Let's get one thing straight. You are not exploring virgin territory with AISHA. 'Emma', the Jane Austen novel, has been adapted on film and television in the past. Although first published in 1815, almost 200 years ago, director Rajshree Ojha and writer Devika Bhagat transport the characters from this novel to present-day New Delhi. But the essence remains the same: A simple plot and an equally simplistic love story.

Unlike most love stories that we've witnessed on Hindi screen, there's no heavy-duty dramebaazi in AISHA, no major hurdles to cross, no parental opposition to encounter, no major conflicts to solve. The director and writer remain faithful to the novel, which prompts you to ponder, wish the relationships were so uncomplicated in today's times.

But there's a flipside as well. The film runs a little longer [although the running time is 2 hours] and gets painfully slow in some portions. Besides, AISHA lacks the depth of passion and that could be because the makers were trying to make something lighter and breezier. Sweeping the minor complaints aside, AISHA is watchable for two factors mainly: Neat performances, especially by Sonam Kapoor and Amit Trivedi's super musical score.

Final word? The romantic buried inside all of us may respond to AISHA well.

Aisha [Sonam Kapoor] is a girl with a simple diktat -- everyone's business is her business. Arjun [Abhay Deol] is a boy with even a simpler set of beliefs -- Aisha should mind her own business. Caught in the Delhi upper class world with its own set of social rules, Aisha navigates her world with a great sense of style and even greater optimism.

Caught in her web are her best friend Pinky [Ira Dubey], the small-town girl Shefali [Amrita Puri], the West Delhi boy Randhir [Cyrus Sahukar] and the hunk Dhruv [Arunoday Singh]. Aisha will make sure everyone dances to her tune. And all Arjun wants to do is disentangle that web and get Aisha out of an impending sticky mess.

Director Rajshree Ojha and writer Devika Bhagat introduce the principal characters at the very outset and within minutes, you know their traits as well. The entire first hour is filled with the assorted characters interacting with one another and technically speaking, there's hardly any movement in the story. In fact, the first hour is more of a collage of incidents and moments put together on a beautiful canvas.

But the wheels start moving towards the post-interval portions, when the lead characters [Abhay, Sonam] suffer from pangs of jealousy and the remaining characters find themselves at crossroads as far as relationships are concerned. From this point onwards, AISHA gets more and more engaging. Note the confrontation sequence between Sonam and Amrita, which leads to a bitter outburst by the latter. Note the sequence when Sonam professes love for Abhay at a marriage reception, only to realise later that she had walked into a wrong venue. Note the finale, which is very Mills & Boon type of culmination. Well penned and well executed sequences!

Director Rajshree Ojha has handled several moments well, but how one wishes she would've spruced up the proceedings by coming straight to the point, instead of depicting Abhay and Sonam in sulking moods in several sequences of the second hour. Also, from the writing point of view, Cyrus and Ira Dubey suddenly realise that they are made for each other. Why this sudden pyaar? Didn't they detest each other? Loving the same musician doesn't imply you are made for each other! There had to be a scene or two to indicate that they are drawn towards each other.

The production design [Shruti Gupte] is impressive. The film bears a striking look all through. The styling of all characters is up to the mark. The costume designers [Pernia Qureshi and Kunal Rawal] deserve full marks for choosing/making the trendy outfits. Diego Rodriguez's cinematography is appealing. Music composer Amit Trivedi is in form, displaying his versatility in various numbers such as 'Shaam', 'Suno Aisha' and 'Gal Mitthi Mitthi Bol'.

AISHA is sure to open eyes to the talent of its leading lady Sonam Kapoor, who gives face, form and expression to Aisha. She displays the essential characteristic of an actress who has the ability to shift quickly and effectively from one emotion to another. She can cry, look wistful and deliver a biting line with equal believability. Abhay Deol is a complete natural and the fact comes to the fore yet again as you watch AISHA. Although Sonam has an author-backed role, Abhay underplays his part well and registers a strong impact in several scenes.