Mallika Sherawat never misses any opportunity to woo her audience. Many times, her seductive body movements made guys fall weak in the knees. In Kamal Hassan’s Dasavatharam, Mallika is again going to awestruck everyone with her sexy pole dance.

She is quite excited to perform this new dance form which she has never tried before. Her inquisitiveness about pole dance is so high that before shooting she did a thorough research about the dance, consulted many books and watched videos of expert polo dancers. When she had shaken her body in Maiyya Maiyya for Guru, she was highly appreciated and the same choreographer Brinda has trained her for the pole dance.

Brinda appreciated Mallika’s co-operation. They completed the song in two days without any tensions and barriers. Brinda describes the song in the following words, “The song has been framed to seduce Kamal Hassan where Mallika will be heading some other dancers in the background.” Madam M never hesitates to do dance movements however vulgar and awkward it may look. Controversies stuck her in every step but she boldly faces any harsh comments.

Actress Katrina Kaif was in the Capital on Tuesday upping the mercury level and playing the perfect brand ambassador for mobile phone company Spice.

With five consecutive hits under her belt Katrina is definitely on a roll, donning a red dress at the event Katrina is Bollywood’s current favourite.

The star simply couldn’t stop talking about the product she’d come to endorse.

“I like the product as it connects with the youth, its affordable to all the people I relate to and has really good features,” she said.

“I always take interest in the product I endorse,” she added.

So much so, when asked about her future projects, Katrina politely brushed the question away.

And when it came to talking about her co-star Akshay Kumar, Katrina revealed that the hit-jodi is ready for a face-off and this one will be in the name of cricket.

“I am here tomorrow for the IPL match against Delhi Daredevils and Bangalore’s Royal Challengers. I’m the brand ambassador for Bangalore’s Royal Challengers and Akshay is the ambassador for Delhi Daredevils, so it’ll be Akshay on one side and me on the other,” said Katrina.

Courtesy : www.ibnlive.com

Kareena Kapoor has the hottest body in Bollywood. The sexy slim new look of Kareena Kappor may win her a lot of die ‘hard’ fans. Kareena featured in Tashan in a two piece bikini, that left a lot of people hypnotized. The beautiful lady attributes her slim n trim figure to her healthy eating habits and power yoga. Tashan may be a flop, the film has nothing to offer. The only thing that is hot in the movie is Kareena Kapoor. Stay tuned for Kareena’s bikini pics!

Sameera Reddy wasn’t a sexy, sultry babe when she started her career. On the contrary, there was quite a lot of baby fat that Sam had to shed before acquiring that ultra-sexy figure. But surprise, surprise, at a recent do, the hottie revealed that she is a big foodie. “I have an extremely sweet tooth, and I like all kinds of cuisine. Having said that, I then spend time in watching the number of extra calories I’ve gained and compensating for them in the gym! We all love to overdo eating, knowing that we shouldn’t overdo it!” she smiled. Words of wisdom, eh?

The Zee Cine Awards 2008 ceremony, on Saturday, saw Bollywood’s greatest talent gracing the red carpet for a star-studded night. It was one of the most anticipated events of the year, bringing probably the largest number of Bollywood fans under one roof.

Winners of Zee Cine Awards 2008 are:

Best Film
Chak De! India – Aditya Chopra, Yash Raj Films

Best Director
Aamir Khan – Taare Zameen Par

Best Actor (Male)
Shah Rukh Khan – Chak De! India

Best Actor (Female)
Kareena Kapoor – Jab We Met

Most Popular Track Of The Year
Mauja Hi Mauja – Jab We Met

Best Actor In A Supporting Role (Male)
Govinda – Partner

Best Actor In A Supporting Role (Female)
Shilpa Shetty – Life In A.. Metro

Best Actor In A Comic Role (Male/Female)
Vinay Pathak – Bheja Fry

Best Actor In A Negative Role (Male/Female)
Arjun Rampal – Om Shanti Om

Best Playback Singer (Male)
Shaan – Jab Se Tere Naina (Saawariya)

Best Playback Singer (Female)
Shreya Ghosal – Barso Re Megha (Guru)

Best Lyrics
Prasoon Joshi – Maa (Taare Zameen Par)

Best Music
A R Rahman – Guru

Most Promising Debut Director
Aamir Khan – Taare Zameen Par

Most Promising Debut (Male)
Ranbir Kapoor – Saawariya

Most Promising Debut (Female)
Deepika Padukone – Om Shanti Om

Most Promising Debut (Child Artiste)
Darsheel Safary – Taare Zameen Par

Technical Awards
Best Choreographer – Farah Khan – Om Shanti Om
Best Costume – Manish Malhotra & Karan Johar – Om Shanti Om
Best Visual Effects – Red Chilli’s Entertainment – Om Shanti Om
Best Editing – Amitabh Shukla – Chak de India
Best Cinematography – Sandip Chaterjee- Chak de India
Best Action – Parvez Khan – Jhonny Gaddar
Best Film Processing – ADLABS – Namastey London
Best Art Direction – Nitin Desai – Gandhi my Father
Best Sound recording – Baylon Ponseca – Shootout at lokhandwala
Best Background Music – AR Rahman – Guru
Best Screenplay – Imtiyaz Ali – Jab We Met
Best Dialogue – Jaideep Sahani – Chak De India
Best Story – Amol Gupte – Taare Zammen Par
Zee Icon award – Shah Rukh Khan
Zee Cinema Entertainer of the year – Ritesh Deshmukh
Lifetime Achievement – Zeenat Amaan
Lifetime Achievement – Feroz Khan
British Indian Actor Award – Katrina Kaif
Bollywod Queen Award – Gauri Khan

Critics Awards
Best Film – Gandhi My Father
Best Actress – Shifali Shah – Gandhi my Father
Best Actor – Darsheel Safary – Taare Zameen Par
Critics Special Awards – Neil Nitin Mukesh

The threesome – Akshay Kumar, Kareena Kapoor and Saif Ali Khan – on the way to god-knows-where need to escape from the cops. They get into blonde wigs and tight ‘American’ costumes and turn into item dancers for a Hollywood project called Holy Widows. “Tashan” is so full of the milk of human zaniness that you feel it may at any moment topple over under the weight of its own cleverness.

If the bizarre brew of the cunning and the cool holds together it’s mainly because of Akshay and Kareena, who create a kaleidoscopic chemistry of crime and no punishment.

The trio redeem themselves by the end of the film. As for the fourth, the villain played with feverish flatulent flamboyance by Anil Kapoor, you can’t win them all.

“Tashan” is a winner in unexpected ways. First-time director Vijay Krishna Acharya spears the content to a dashboard that dashes all over the place.

Most of “Tashan” is a zany kookie ribald and riveting road movie about a naïve wannabe criminal Bachchan Pandey (Akshay) and an English tutor named Jimmy Cliff (Saif) trapped into a heist by a crime lord who wants to learn English in haste.

Amoral, pouty, super-sculpted seductress Pooja (Kareena) plays up the two men against one another and often breaks into steamy songs and provocative dances that suggest no link between the tale of the Uttar Pradesh bhaiyya, angrezi masterji and the Kanpuri coquette and the world that cultivates such freaked out misfits.

Crime capers and road movies about characters who often get into outlandish costumes and foreign wigs at laconic locales have become a favourite at Yashraj.

Stories of small town people dreaming big have come and grown. “Bunty Aur Babli” worked. “Jhoom Barabaar Jhoom” did not. “Tashan” surreptitiously slips into the workable stratosphere, thanks to its super-motorized manoeuvres that take the plot into an area of utter originality.

Love it or loath it, you’ve never seen a Hindi film like “Tashan” before. Outrageous, over-the-top, opulent and audacious, the debutant director turns formulistic conventions inside out and upside down.

“Tashan” constructs a fool’s paradise of wanderers in search of that pot of gold at the end of the studio-generated rainbow.

Art director Sukant Panigrahy and cinematographer Ayananka Bose have as much fun with the art décor and locations as two kids doing water colour in kindergarten. The swirl of delightfully and daring adventures as the greasy characters travel across Greece and India in search of anything but peace is quite a gravity challenging achievement.

The actors seem to be having loads of fun. Whether we share it or not, is entirely our outlook. If the truth be told, the only one who seems to catch hold of the director’s vision in totality is Akshay. Man, what a delightfully naïve-and-knowing interpretation of the small-town criminal’s rise to fame and his helpless surrender to love. In the light of the artless world of naïve brutality that he builds for his character, Akshay’s get-up (crew-cut, crotch-hugging trousers) makes sense.

I’m not very sure why Kareena needed to re-sculpt her body to play the small-time schemer or the relevance of Saif’s dropping moustache.

In fact Saif’s relevance to the film escapes me. He rushes in as though to work over-time after “Race”. He seems to have no idea of the rhythm required for this extravagant take-off on Bollywood’s meanest conventions and his set-expressions are more annoying than illuminating.

Anil’s role of a criminal with his craving to master English is a monstrous aberration from the past – a Mogambo from the stylised den in “Mr. India” let loose in the city to create a free-funded havoc.

Akshay steals the show in almost every frame. Watch him in that tricky boat sequence with Kareena in Allahabad (yes we’re taken from Uttar Pradesh to Greece to Rajasthan to Ladakh in this jerky joyride from here to eternity) where he gets to know she is his teenage sweetheart from the town that was as frozen as the lakes of Ladakh and Greece.

Akshay takes this potentially trite and dangerously co-incidental sequence from level to level with a fluency that speaks volumes for his growth as an actor and his reverence for cinematic conventions.

You wish the director had shown some restraint in the action scenes. Cars skid and swerve around corny curbs, weary warehouses go up in flames and Akshay even takes a break atop a teetering tower to fight scores of martial artistes as the characters somersault and jump in a ghoulish pantomime of action conventions from the 1970s.

The trouble is “Tashan” doesn’t know where to stop. The situations get out of hand and dialogues like “chadhi sukhana” and “aurat ki ganji” make you wince. You can’t blame Acharya for losing control. After a few reels of non-stop amorality, the narration acquires its own volition.

What the film is becomes harder to pinpoint. Just go with the flow.