Kidskycom It's funny watching the elements come together in this complicated scam. On one hand, the set-up isn't quite as complex as it seems, but there's an easy sense of fun in every exchange.

Taraparain Tells a fascinating and unsettling true story, and does so well, without pretending to have all the answers.

Lollivan It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

Logan By the time the dramatic fireworks start popping off, each one feels earned.

M MALIK whats did i say above in the summary is true.this film is based on a novel and real life events of 1993 Bombay blasts the narrative is told in many ways including what happen before the attacks,the aftermath of events & the investigation.the plot:in 1993 a series of blast occurred in Bombay & Indian police launches a hardcore investigation now will the terrorist get caught,will tiger the man behind it gets punishes or not all these answers are in this film.this film is good i mean it the dialogs plus cast specially Aditiya Shrivastava played this character Badshah Khan aka Nisar Khan real great performance by him,Aditiya is known for his Cid TV drama that i very much like.and another man is Kay Kay Menon who plays a cop.this film is long running also includes religious & terrorism themes but still watchable i have seen a lot of films by Anurag Kashyap as he is a very different director he brings something new every time,but here its a little disappointed by his decision in technical department as he wanted to use the red lens for the camera because it makes the film unwatchable at many places as the screen gets filled with red color.overall black Friday 2004 is a film that should be watched at least once despite being a controversial film its enjoyableMy Rating Is 4/10.watch this film

raghumag Movie is fantastic, and it probably deserved lot more mention across media and award ceremonies across India.Sadly these kind of hard hitting movies don't take center stage . The movie is different from regular masala that's get dished out on every Friday in India. This one makes you travel with the characters, and tells you story where you might be victim,perpetrator or investigator. Anurag probably is ahead of his times in Bollywood, I wish this guy keeps doing the great work . I had watched this movie on my Desktop in 2005 and then when it released in 2007 watched it in the HALL, and I watched it today because of the supreme court verdict. Anyways the movie doesn't make me feel like there was any objective other than chronicle the episode of those dark days...I rate this movie along with Schindlers list in its presentation.

johnnyboyz Black Friday is the Indian film network's desperate attempt to drag their industry into the 21st Century and to exemplify their ability to keep up with modern cinematic trends of the rest of the Western world. They've done this with what they seem to think resembles a fast; cutting; biting police procedural thriller that it would like to think cracks along at a mile a minute, but just ends up to speed what a lap-dance at a strip joint does to a performance of Swan Lake at The Royal Opera House. Therein, one observes the obvious inspirations drawn from Brazilian film City of God, as this slum-set and often canted crime-inclined multi-stranded thriller plays out; further-still, this post-Heat wave of thieves and those trying to apprehend them at once both being human with room for the criminals to come across as a little more humane than that of the people out to apprehend them. The film is, at the end of all the talking, a vile; ugly looking; repetitive and deeply unjudged piece covering too many characters consisting of several strands that don't ever creep above the level of terrifyingly dull and flits wildly from being this relatively lightly played, causality driven procedural thriller to this distasteful series of cop induced torture sequences.The film in no way represents an Americanisation of any sort of branch of popular Indian cinema, moreover it is more broadly akin to the feeble attempts that might mirror the local playground's weedy kid and his attempts to look credible alongside several other established juvenile figures, of whom have already put across their credibility through whatever means of character and venture. Released in the year of Greengrass' The Bourne Supremacy, and more broadly reflective on an aesthetical level of whatever smatterings you may have seen of Bay's then-recent Bad Boys II, Anurag Kashyap's film covers the very long and very arduous fallout of a series of Bombay bomb attacks in 1993 induced by a rouge terrorist cell, causing both great strife and beleaguerment. Shot through an ugly series of green; yellow and blue filters, Kashyap tries to tell the story (several, in fact) of how everything happened, but mostly consists his film of poorly played interrogation sequences; cops chasing down suspects through streets; suspects trying to cut themselves loose of the situation and how one cackling chief villain watched on from the sanctuary of the United Arab Emirates.Sadly, and this is more than likely the film's greatest sin, one needs to look deeper into the events around which Black Friday revolves in order to fully appreciate the work effort and general sociological affect everything had on the Indian people, much less rely on the quality of the film to understand any of this. The film lacks any sort of weighty, hearty core around which the events therein may transpire - Kashyap too often relying on the fact that these terrorist attacks happened and exploiting them so as to act as the heartfelt and tragic undercurrent to the fallout of this frantic search for the perpetrators and one or two of the terrorist cell member's own guilt trips. Let it be known that an hour in, one needs to think hard in order to recount that Black Friday's catalyst was what it was and that this is not the situation which befalls us when we watch something along the lines of 2006's World Trade Centre.The film covers varying people across a varying number of strands, some of whom are responsible for the attacks; some others of whom are charged with finding them – the whole thing constructed around a very sub-Traffic approach of varying hues; lens' and focus techniques masking what is essentially a mere series of scenes consisting of enquiring and apprehending. Kashyap bookends what eventually comes to form chapters of various people being detected and caught with graphics on how the real arrests played out, thus destroying any sort of suspense in the subsequent scenes. There is no nucleus around which things may revolve, merely the shooting of the same basic premise to a scenario several times that often descends into the sort of scene that sees police officers happily break a suspects fingers with a hammer and then ask them to sign some important forms. If he can't, which of course he can't since his digits are practically bent back the wrong way, they hurt him somewhere else.Rather uncomfortably, Kashyap packs more style into the above sequences than anything else and there is a growing sense throughout the film of a genuine shifting from depicting to humanising to sympathising with the terrorist cell and its members as being these humane and often flawed people doing what they do. Counteract that with the police, who are these nasty; horrid and brutish people continuously trying to track them down and implement unto them all manner of nasty things in an evil and mechanical way, and you have an ill-judged cocktail offering a way out to terrorists and a suggestion that respected figures of authority exist to be demonised. The film lacks the finesse of something like 1995's Heat in this regard, where blue tinted night set exterior shots of Los Angeles in tow with soothing electronic music acted as the cushion to the often brutal ground set shootouts and emotional angst imbued within the central characters. I read and hear that there have been a great number of Indian films from recent years, a string of which in the form of "Ishqiya"; "LSD" and "Harud" were broadcast on British television, which look to 'Western' codes and conventions for inspiration away from Indian filmic traditions. Where those remain to be seen, the likes of "My Name is Khan" and "The Japanese Wife" represent the more meekly tolerable of this ongoing "wave" – Black Friday epitomises the more unbearable.

Sourav Roy Indian films are rarely based on books, and they heavily account for their bad screenplay. Anurag Kashyap's Black Friday tries to portray everything the way it actually happened in Mumbai blasts, or at least as the book says it happened, and succeeds! Unlike most other films of this genre, this film does not hype terrorism, or romanticize the darkness of Bombay, or the coldness of its police- but portrays exactly what happened in reality. The usage of actual news footage of the events add realism to the tale. It takes courage to take names of some of the biggest name in underworld and Indian politics as bluntly, and the filmmaker shows that courage.The story doesn't point finger on any particular person, group or community as the culprit for what is still Indian crime history's biggest tragedy. It gives a strong message, right on face- the terror, the attacks, the explosions, the riots inhales not any particular community but the whole humanity.