raaz 2 review

raaz 2 review | raaz 2 movie review | raaz movie review | raaz 2 reviews

how can a friday pass by with out a movie release ,today raaz 2 (raaz the mystery continues) released this raaz 2009 movie is not a sequal to raaz movie released , its been long time since horror movies released in bollywood, raaz 2 review is about a muched hyped movie, there waslots of conteravercy in raaz movie 2 review, and about the rumours about Kangna nude scene, therre doent seem to be one , the reviews just state that" Kangna's first encounter at a mall and minutes later, inside an elevator; the New Year bash when Kangna is 'attacked' by spirits; Kangna's experience in her bathtub and also when she looks at the mirror; Kangna almost jumping off a cliff;
i havent watch the raaz 2 review movie yet but was searching online for the raaz 2 review by india gliz or raaz 2 review by any reputated bollywood portal, the raaz 2 review shows that raaz movie 2 is kinda better in fact to say raaz 2 review tells it can be watched atleast once,



the online raaz movie reivews that i found were

The film is a definite must watch, it delivers more than it promises. Not only it is way far better than the first Raaz, it is that one good horror film, that Hindi horror film fans have been deprived for a long time now since Bhoot. Go for it and be prepared to be spooked

raaz 2 review by indiaglitz is

Perhaps, the title 'Raaz' should've got everyone's adrenalines shot-up, anticipating it to be a stupefying ride of roller-coaster. Well, the 'Bhatt' factor seems to spell tremendous magic when it comes to 'Horror'. Of course, who can refuse it or forget the most scintillating horror flicks released by the 'Bhatts'. Years back it was 'Raaz' and then '1920' had us tied to our seats and now 'Raaz – The Mystery continues' isn't an elision.

Mohit Suri brims with a commendable directorial and precisely, he strikes with a decent effort on all quotients. Not only does this flick include a gripping screenplay; his top-notch designing of the technical aspects of cinematography and background score too has us raising our hands for a grand applause.

Does 'Raaz – The Mystery Continues' offer a never-seen-before show of an exceptional storyline? Nah! You've the clichéd plotline of a ghost's unaccomplished desire for seeking revenge. But, the difference comes in the form of the unique intentions of a thirsty soul. Don't get surprised to experience certain replicas of 'The Exorcist', or the Recent Hollywood releases 'Mirrors' or 'Stigmata'. With all these properties Mohit Suri doesn't get you disappointed at any moment of the show.

Precisely, at particular points we've him getting through the lines of the 'classic-horror touch' that'll let your nerves frizzled and move you to the edge of your seats. Looking for an illustration; Uh-huh! Kangana's bathtub sequences, Adhyayan Suman dropping cash from an ATM Machine, they are sure to horripilate your senses.

A successful model Nandita (played by Kangana Ranaut) is in love with a creative director of a television program, Yash (played by Adhyayan Suman). Everything is fine and cool until Nandita's life takes a dramatic turn when she meets an artist, Prithvi (played by Emraan Hashmi). He tells Nandita that all the paintings he has made on her are getting disfigured which spells impending danger for her. Initially, she does not believe him but then she starts facing horrifying situations herself. After this, hell breaks loose and an unstoppable storm begins. Thus unfolds some of the most thrilling horror sequences of Bollywood with 'Raaz – The Mystery Continues…'

raaz 2 review by sify

Nandita (Kangana) is a ramp model in love with the wrong guy, ignoring her own life and career for the relationship. An invitation by this on-off boyfriend Yash (Adhyayan Suman) leads her to the party where his television show dismissing superstitions Andhvishwas is being felicitated.

All’s well, till she starts getting stalked by saucer-eyed Emraan Hashmi to the haunting tunes of the piano. Then follow the usual suspects of every horror film – the deserted car park, moving camera, the elevator scene and so on. To the soundtrack of a woman wailing we see Hashmi’s Prithivi in a damp, dark studio furiously painting. We see that it is the painting of Nandita, with a slashed wrist. Meanwhile, Nikita discovers she is pregnant and a near-fatal, freak incident causes her a miscarriage and, you guessed it, a slashed wrist exactly as in the painting. Next up, Nandita experiences strange occurrences - at a fashion show, she glares at the chief guest and manhandles him. The vision of her being taken in by the security had found its way onto Prithvi’s canvas just a day before. Nandita is frightened, and convinced that she is being attacked by a spirit. The spirit is ruthless and harasses Nandita again, but Prithvi has already envisioned it and is there to save Nandita. Such incidents continue till she decides to unravel the raaz that connects her to Prithvi and to the spirit that’s determined to harm her. This journey leads her to a village Kalindi in Himachal Pradesh, where the imminent annual mela also has a connection with Nandita.

Raaz –The Mystery Continues manages a pretty good rank on the scare-o-meter; there are some genuinely chilling scenes, but nothing that’ll give you recurring nightmares. Of course, the film becomes unintentionally comic in portions where we see a monster-like hand emerge out of the ATM machine or when we see Jackie Shroff’s half-disfigured face with several others. There too many teases – the screensaver changing to a blood red `God is Dead!’ leads to nothing; the track about the Agori tribe has no real significance; and the bulls attacking Nandita’s car is there just for the heck. Most significantly, we are unable to understand the reason for the spirit picking on Nandita in the first place. Then there is the pseudo religion- espousing where a holy man advices Nandita to keep the Bhagvad Gita with her to ward away evil spirits. Like in Vikram Bhatt’s 1920, where the evil spirit is done away with, using the Hanuman Chalisa.

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