Sunday, June 2, 2013

Yeh Jawaani Hai Deewani movie review

Friendship, much like romance, is getting quite jaded in Bollywood. Only the number of buddies, their social status, conflicts and desires seem to change, while the soul remains constant.

So, much like ‘Dil Chahta Hai’, ‘Rang De Basanti’, ‘Rock On!!!’, Zindagi Na Milegi Dobara’, ‘3Idiots’, and ‘Kai Po Che’, one-film-old director Ayan Mukerji’s gang of four also go through their share of ups and downs, only to resurface stronger and thicker.

And, he pads up the Bollywood buddy clichés with a lavish dollop of mush.

Even his love story – a demure girl-next-door who skips her heartbeat for the commitment-phobic boy –  isn’t novel, but his leading cast makes it work.

To Ayan’s credit, he does the unthinkable and makes the stereotypes work, rather convincingly, through stunning frames and killer tunes.

Another negative is the fragmented tone of the storyline. There’s the influence of other filmmakers that surface unintentionally. At one point, it’s textured like a Karan Johar movie, at another it echoes Zoya Akhtar’s sensibilities, and, yet another, it shows shades of Farah Akhtar.

And, between all this, you’d find Ayan as well.

While ‘YJHD’ is formulaic, and nothing exceptional in terms of story, Ayan’s narrative’s got style and flair, and he textures it gorgeously. A quality we’ve witnessed earlier in his debut ‘Wake up Sid’.

For most parts, ‘YJHD’ isn’t damaging and does make a fun, frothy buddy flick.

Ayan packs off a fun bunch of four school friends, each with their own quirks and philosophies, on a life-changing road trip in  ‘Yeh Jawaani Hai Deewani’.

At two-hours-and-42-minutes, our attention span does waver, but Deepika and Ranbir work towards keeping us hooked.
Deepika gives school nerd Naina Talwar, who is looking for a drastic makeover, a compelling face. She plays out Naina’s insecurities and her discovery of newfound freedom and zest for life with restrained maturity.

Ranbir fits in as her perfect soul mate with an outstanding performance. There’s not a single frame or emotion that he gets wrong, creating a world of Bunny within our hearts.

Even their friends – Kalki Koechlin and Aditya Roy Kapur – are equally charming, but Ayan’s screenplay never allows us to explore their desires and conflicts. There are glimpses but nothing that gives us an insight to their world.

Despite that, Kalki is striking as the funky Aditi, who eventually mellows down in life, and Aditya is equally delightful.

Of their family and friends, it’s veterans Farooq Sheikh, Tanvi Azmi and Dolly Ahluwalia who are outstanding. Even Kunaal Roy Kapur’s fidgety Taran is loveable.

While it’s not appropriate to compare ‘Wake up Sid’ and ‘YJHD’, we can’t help but spot the similarities in terms of every character’s impeccably dressed homes (remember Kokona’s stunning room), his hero’s love for the camera (still/moving, much like Sid), and the parental conflicts.

If anything, we expected Ayan to stay away from the unpredictable in the end, but that is where he falters.

That aside, we’d propose you step out of your homes and allow Ranbir and Deepika to take you on a fun ride that you won’t regret.
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Sunday, April 7, 2013

Special 26 Movie Review

Special 26 Movie Review

Cast: Akshay Kumar, Anupam Kher, Manoj Bajpayee, Jimmy Sheirgill, Kajal Aggarwal, Divya Dutta
Direction: Neeraj Pandey
Genre: Thriller
Duration: 2 hours 24 minutes

Story: Four feisty heroes posing as a CBI team, fifty heists and one real CBI officer on the prowl to nab them.

Movie Review: Ready for a fake 'Foursome', with some 'real' stuff. Here it goes. With cool conmen, cops, chases, mind, matter and maal. But first, meet the members of the con-club. The asli khiladi Ajay (Akshay), quick-witted, daring and strong-willed - he's the master-planner. Sharmaji (Kher), a wee-bit weak-hearted, but the real 'loin of Punjab' (with 8 bachchas and going strong). Add in, Iqbal (Kishore Kadam) and Joginder (Rajesh Sharma) - who add muscle to the master-mind. In the late 1980's these conmen pose as CBI officers and raid malaamal matris, business magnates and jewellers.

With no records or FIRs - they escape after every heist with a clean (white) conscience and loads of black money. A (real) CBI inspector, Waseem (Manoj) along with sub-inspector Ranveer (Jimmy) get on a deadly chase to nab them while they're faking it. Well, if you want to figure out con-asli, con-nakli, go ahead, wear Sherlock's (Holmes) suit and crack this one.

With an ingeniously layered role and a brilliant act, Anupam Kher truly 'steals' the show. Akshay hits hard, with pure, unadulterated acting, minus action. Manoj is always in command, fiery and fantastic. Jimmy lends strong support; Kajal Aggarwal (Ajay's love-interest) flashes smiles in interludes, and Divya Dutta throws in laughs.

Inspired by a real incident, Neeraj Pandey cuts to the chor-police chase and weaves an intelligent, mind-racing thriller, keeping you tightly strapped to your seats. It captures the 80's era beautifully; and the cinematography ( Bobby Singh) is a cut above (special mention: scenes in Connaught Place, Delhi, and Kolkata streets). The powerful background score enthuses the pace. The only place he loses momentum is the romantic track and dance number, kinda unwarranted, we must say.

Interestingly, this con-job story is not superbly-stylish or stealthily serious. It doesn't stun you with a social message like Pandey's 'A Wednesday', but it grips, excites and ahh...climaxes too! And no ... you can't fake this one! Catch it for pure cinematic orgasm.

Special 26 Movie Review

Sunday, March 24, 2013

Zero Dark Thirty 2012 Review

Zero Dark Thirty: The Girl Who Got bin Laden

We think we know about how Osama bin Laden was killed, about the failed attempt in Tora Bora and the manhunt that followed, the Seal Team Six raid in Pakistan and the burial at sea. But in unrelenting and intimate detail, Kathryn Bigelow's Zero Dark Thirty enriches and complicates that story, focusing on the intrepid CIA agents who led the hunt, the minor and major tragedies that made it take so long, and the obsessions that made it possible.
  1. Zero Dark Thirty
  2. Production year: 2012
  3. Country: USA
  4. Cert (UK): 15
  5. Runtime: 157 mins
  6. Directors: Kathryn Bigelow
  7. Cast: Chris Pratt, Edgar Ramirez, James Gandolfini, Jason Clarke, Jennifer Ehle, Jessica Chastain, Joel Edgerton, Kyle Chandler, Mark Strong

Though some of the details are fictionalised – including Jessica Chastain's lead character, Maya – Zero Dark Thirty has the weight of modern history behind it, taking us through CIA black ops sites and torture chambers, touching briefly on the 2005 London bombings and Barack Obama's 2008 campaign, and opening with a harrowing, audio-only recreation of 9/11 using phone calls from inside the burning World Trade Centre. Even as Mark Boal's script burrows inside the specifics of CIA work and asks us to keep track of a multitude of operatives and terrorists, it never loses sight of the stakes of the historic manhunt, which continued even after many in the CIA believed Bin Laden was already dead.
Played with incredible, coiled precision by Chastain, Maya is the vital centre of this massive and wide-reaching film, doggedly pursuing Bin Laden for nearly 10 years along countless dead-end leads. Tipped off to the existence of a courier with close ties to Bin Laden, Maya hunts him down across international borders using interrogation, torture and even the occasional Lamborghini bribe. She has help from some colleagues (notably Jason Clarke and Jennifer Ehle) and constant skepticism from others, such as Kyle Chandler's CIA bureau chief and, eventually, CIA head Leon Panetta (played by James Gandolfini in a brief appearance). Maya's determination and refusal to show emotion, even after brutal tragedy, makes her an intimidating figure, but with the benefit of hindsight and Chastain's remarkable performance, we root for her impossible cause anyway.
Operating on the investigative rhythms of a procedural, with occasional pops of suspense and sudden violence, Zero Dark Thirty shifts into a markedly different mode near the end, following the precise movements of the Seal Team Six mission that actually killed Bin Laden. That superb sequence may be what audiences are expecting from Bigelow, director of heart-pumping thrillers such as The Hurt Locker and Point Break, but the adrenaline of the end wouldn't mean nearly as much without the methodical hunt that comes before it.
It shouldn't go unnoticed that Bigelow, the first woman in history to win a best director Oscar, has looked behind the all-male Navy Seal team that killed Bin Laden and found a woman – several of them, actually – who set it all up. Maya's femininity affects her character in many fascinating, tiny ways, but it's just one of the many rich details that makes Zero Dark Thirty so riveting. Telling a nearly three-hour story with an ending everyone knows, Bigelow and Boal have managed to craft one of the most intense and intellectually challenging films of the year.

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The Attacks of 26/11 Movie Review

The Attacks of 26/11 Movie Review 

Cast:Nana Patekar, Sanjeev Jaiswal, Atul Kulkarni
Director: Ram Gopal Varma
A boatload of armed men splash up the Gateway of India shoreline, crowded with fisherfolk and shack-dwellers, and melt away to their assigned targets. The attacks that took place in Mumbai on November 26, 2008, showed us just how vulnerable our most glittering megapolis was to anyone with a machine gun, a batch of explosives, and a plan drawn up by a trained terrorist outfit. Ram Gopal Varma's re-creation of that ghastly night of terror and bloodshed brings it all back, in conflicting ways.
The making of a feature film based on 'real' events is always fraught. How 'real' is the film? How close is it to the events that were recorded minute by minute in police files and by live television presence? Varma, who took a walk through the ravaged interiors of the Taj Hotel in the then chief minister's entourage, was roundly castigated ( so was the CM). This was meant to be an official assessment of human collateral and physical damage, not a location recce by a filmmaker. It was a callous, shockingly insensitive thing, and it inevitably rises to the fore when you begin watching : how much of what Varma saw that day makes its way into his film? And what did he leave out?
'The Attacks of 26/11' take us to Leopold Café, the reception area of the Taj Hotel, the vast interiors of CST, and to the hospital, the main spots of the carnage. The film opens on a somber note, with Nana Patekar who plays the part of Joint Chief Police Commissioner Rakesh Maria recalling the events of that night in front of a committee, and the film unfolds in a series of flashbacks. It shows us a city under siege, a baffled administration, and a shell-shocked police force struggling to come to terms with the ferocity and the multi-pronged face of the attack, and the capture of the man who became the face of it, Ajmal Kasab ( Jaiswal).
The last few RGV films have been a non-stop assault on the senses, with cameras being positioned between body parts ( thighs, arm pits, nothing has been spared), and ear-splitting background music. 'The Attacks of 26/11' is comparatively quieter, if a film full of chattering machine guns and cries of the dead and dying can be called that. Its initial passages are promising, and in a few sequences, there is an effective build-up to the dread. Patekar pitches in a solid if stolid performance, and Jaiswal, who looks alarmingly like the pictures we've seen of Kasab, matches our picture of a remorseless killer, dogma-driven, high-on- substance-and-adrenalin, before turning into a twitching mess.
But Varma loses the advantage by slipping into familiar treads. People being killed, and limbs being turned into bloody colanders on screen need to be treated, in this kind of a film which demands respect because it claims veracity, with respect. Here the director sheds restraint, and becomes a voyeur, and turns us into voyeurs too. Adults being butchered are bad enough, but children, and babies? You do not show me multiple close-ups of tots about to be shot. No, no, no. And then we are treated to long treatises on religious edicts and what's good and bad, which are just plain tedious.
It had the potential to be both smart procedural, and spiffy action, but '26/11' sinks somewhere in the middle.

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Sunday, March 10, 2013

Viswaroopam Full Movie Download (In Telugu)

Viswaroopam Full Movie Download

Director: Kamal Haasan
Starring: Kamal Haasan, Pooja Kumar, Rahul Bose, Jaideep Ahlawat

Is kahani main sabka double role hai, says Andrea Jeremiah, who plays a kathak student cum agent in Vishwaroopam. But Kamal Haasan being the writer and director of Vishwaroopam gets to play three. So he's Viswanath, an effeminate Kathak teacher who loves to cook chicken for his wife (Pooja Kumar), a nuclear oncologist, who happens to be cheating on him. He's Wisam Ahmed Kashmiri, a trainer of Taliban in Afghanistan. And he is of course--no big surprise--a RAW agent who busts an Al Qaeda sleeper cell and saves New York from nuclear hell.

The only people who should be offended by the film ought to be those who don't want to see Kamal Haasan in every frame of the over two and a half hour long movie. And who have watched too many episodes of Homeland and much prefer to see Brody and Carrie play crazy agents on the loose. Other than that, it's hard to see what offends the organisations demanding a ban on the film. Is it because the film shows Taliban trying to attack New York? Err, not exactly a novel plot. Is it because it shows Kamal Haasan, who briefly plays a Muslim, yelling Krishna when he is attacked in, ah, the groin? Is it because Rahul Bose hams it up playing Omar, a Talibani who denies his wife western medical care and his children English education? Or perhaps it is because Pakistani generals are shown getting their orders from Osama bin Laden (again no surprise given he was living in their country as a virtual state guest).

Kamal Haasan has spared no expense in trying to blow up New York and various caves that pass off for Afghanistan. He even gives us a glimpse of Osama bin Laden, I presume just before Kathryn Bigelow picked him up for her own film on the war on terror, Zero Dark Thirty. Kamal Haasan has never been short on ambition. So the film travels from New York to what is ostensibly Afghanistan where Kamal Haasan's Wisam and Rahul Bose's Omar have fun shooting at pictures of George W Bush. And it goes back to New York again to save the fumbling FBI from embarrassing itself.

Several choppers get blown up, hands get severed, heads fly about, some with chests attached to them, and Americans are beheaded on camera. Kamal Haasan goes from long hair and chikan kurtas to short crop and black leather. We have no doubt about his range, we never did. We just wish we didn't have to see so much of him.

Am I bad man or a good man, he asks at one point in the movie. Is this a good movie or a bad movie? A bit of both--with both intentional and unintentional light relief. At one point, an FBI agent interviewing Pooja Kumar asks about her God. "My God has four hands," says Kumar. "Then how do you crucify him?" asks the agent. "We don't. We just dunk him in the sea." Ah, maybe a new controversy for the Hindus now.

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Tuesday, January 8, 2013

Dookudu The Real Tiger 2011 hindi dubbed

Dookudu The Real Tiger 2011 hindi Dubbed

Mahesh Babu

Samantha Ruth Prabhu

Samantha Ruth Prabhu

Download Samantha Ruth Prabhu HD Wallpapers

Genre : Action | Comedy

Year : 2012

Cast : Mahesh Babu , Samantha Ruth Prabhu , Sonu Sood

Director : Sreenu Vaitla

Format : X264

Runtime : 2Hr 54Min

Resolution : 1920x816

Audio : AC3

Duration : 170 min

Description : Shankar Narayana is an honest politician who meets with a near-fatal accident. Some years later, Shankar's son Ajay has grown up to become a police officer. Ajay's mission to bring down the trade of drugs and weapons, takes him to Istanbul. It's while there that he first meets fashion student Prashanthi.Ajay is smitten with her. Back in India, Shankar finally awakes froma long coma. Ajay creates an elaborate home-life charade to shield his still-fragile father from any stress or shock. While out on the streets, it is time to hunt down Don

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Tuesday, December 4, 2012

Talaash Movie Free Download

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Director: Reema Kagti
Written By: Zoya Akhtar, Reema Kagti
Stars: Aamir Khan, Kareena Kapoor and Rani Mukerji
Language: Hindi | English | Marathi
Country: India
Talaash Full Movie Free download Online ,Following the suspicious death of a popular film star who plunged into the waters in his car, Inspector Shekhawat (Aamir Khan) investigates in order to determine whether it was an accident, or a crime. To find the truth in this complex case, he will be forced to confront his past. (c) Reliance Big Pictures.Talaash Full Movie Free download Online.

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Talaash Full Movie Free download Online ,Inspector Shekhawat meets a sex worker Rosie (Kareena Kapoor) who further adds shades of mystery to the puzzle.What looks like a simple car accident investigation turns into a haunting mystery as further investigations show many anomalies linked to the victim`s death.

Saturday, November 17, 2012

Download Jab Tak Hai Jaan Movie

Download Jab Tak Hai Jaan Movie

Jab Tak Hai Jaan is a 2012 Indian romance film directed by Yash Chopra and written and produced by Aditya Chopra under their production banner Yash Raj Films. 
Release dateNovember 13, 2012 (initial release)
DirectorYash Chopra
ProducersYash ChopraAditya Chopra
CinematographyAnil MehtaRavi K. Chandran
GenresRomance FilmDrama

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Monday, October 29, 2012

Chakravyuh Movie Free Download

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Chakravyuh Movie Free Download

Watch Kunda Khol, the song promo from 'Prakash Jha's' upcoming film 'Chakravyuh'. Kunda Khol is sung by Sunidhi Chauhan and the video features ravishing Sameera Reddy.

Singer: Sunidhi Chauhan
Music: Sandesh Shandilya
Lyrics: Ashish Sahu

Eros International presents a Prakash Jha film Chakravyuh. Chakravyuh hits theatres on October 24th, 2012

Produced by: Prakash Jha 
Co Produced by: Sunil Lulla 
Directed by: Prakash Jha
Screenplay by: Anjum Rajabali, Prakash Jha and Sagar Pandya
Cast: Arjun Rampal, Abhay Deol, Manoj Bajpai, Esha Gupta
Direction: Prakash Jha
Rating: **1/2
Prakash Jha picks a sensitive subject of social relevance but in his attempt to pander to popular cinema, he incorporates too many Bollywoodisms that prevent 'Charavyuh' from becoming an intense political drama. Jha spends too much time trying to make the film entertaining rather than focus on the nuances that make a coherent plot.
'Chakravyuh' is a political drama set against the backdrop of the Naxal Movement. Jha brings to forth many pertinent aspects of the Naxal ideology — the issue of little or no development for the tribal communities in India, illegal land acquisition from the farmers, the collusion of the powerful (the politicians and the industrialists), police brutality and systematic failure of the law and order system. The intention is good but Jha flounders on the execution.
Adil Khan (Arjun Rampal) is the honest and courageous police officer who has been assigned the arduous task of curbing the surge of Naxal terror. Adil's friend, Kabir (Abhay Deol) proposes to infiltrate the Naxal camp and become an informer for the police. Jha's choice of approach to penetrate the Naxal nexus is deeply flawed. Naxalism is about complete belief in a parallel ideology that is radical and violent; one night at a police station will not convert you into a sympathizer of such an ideologically loaded cause unless we are talking about severe brutality. Jha takes many such logical liberties in the film, coupled with poorly-written dialogues that really don't resonate with the intense theme of the film.
Abhay Deol gets to play a complex character but somehow the layers are not etched out clearly to make his performance stand out. Arjun plays his part with all sincerity but is saddled with some of the worse lines. Manoj Bajpai completely fits in as the Naxal commander but the director doesn't entrust him with shouldering the film and therefore, he has little to do in the second half. The supporting cast is a complete letdown.
The narrative is peppered with an unclear romantic track and has an item song thrown in just for the heck of it. Prakash Jha should understand that a bold topic is not enough, unless the execution matches the noble intentions of the plot.

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Monday, October 1, 2012

OMG Oh My God Movie

OMG Oh My God Movie

  • Cast :
  • Paresh RawalAkshay KumarMithun Chakraborty...
  • Director :
  • Umesh Shukla
  • Producer :
  • Akshay Kumar, Paresh Rawal, Ashvini Yardi
  • Story :
  • Kanji Bhai doesn't believe in God. He is on a mission to prove God doesn't exist.
  • Genre :
  • Comedy

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In a country like India that is widely God-fearing, a film like OMG Oh My God, that fearlessly and unwaveringly raises fingers at the commonplace commercialization of religious customs, is certainly an audacious attempt. Oh My Godshouldn’t be mistaken to be a film that endorses atheism. Rather it questions blind faith. 

Kanjibhai (Paresh Rawal) makes a living out of selling idols of God but is himself a staunch disbeliever. When his shop is shattered in an earthquake, the insurance company rejects his claim on grounds that the incident was an act of God – something that isn’t covered within their policy. An outraged Kanjibhai moves the court of law asking compensation from God. Since God has no address, he summons religious leaders (headed by Mithun Chakravarthy), arguing that they represent God on earth and thereby should compensate his loss. 

What seems like a preposterous petition turns into a complicated courtroom drama and subsequently Lord Krishna (Akshay Kumar) himself takes human form and comes down to earth to guide Kanjibhai in his dispute against divinity.

At the outset, Oh My God might seem like a ludicrous and fanciful fable. But this very implausibility of the plot, when presented convincingly, turns to be the film’s highlight. Kanjibhai self-contests his case, presenting such interesting arguments that the high court judge (like the viewer), who is initially disapproving of the lawsuit, acknowledges his line of reasoning and green-lights the trial. What makes Kanjibhai’s character original and interesting is the fact that his atheism isn’t triggered from some past angst with God (ala Amitabh Bachchan in Deewaar) nor by any scientific philosophies.  He just loathes the blatant business, built out of blind faith, which bolsters his disbelief. 

The smartness that writer-director Umesh Shukla brings to the narrative is that he never blames God for any misdoings (that would be blasphemous). Rather humans and their inherent greed are largely shown to be the bone of contention here. Thereby religious heads are brought under prosecution and, through them, their blind followers are largely targeted. 

In a steadfast devout nation, this film has the nerve to openly point out how religious traditions like pouring milk on idols in temples or offering sheets of flowers in mosques or burning candles outside churches are merely moneymaking gimmicks, devised in the name of God. The film rightly points out how devotees, without a second thought, would make divine donations but hardly even consider charity for the needy. 

However, despite its sensitive take on devotion and, moreover, having a protagonist who never believes in God, the film strongly approves of the Almighty and in fact makes his presence felt in human form (through Akshay’s character).It illustrates of God as someone who won’t solve your problems but surely guide you through them. And more importantly it calls for devotion that isn’t ‘God-fearing’ but ‘God-loving’. Through such individualistic ideologies, Oh My God goes beyond the cinematic boundaries of being merely an entertainment medium and has the potential to make one reconsider their pious practices and spiritual philosophies.  

With the thin line on which the film treads, it’s imperative that the film have an as much sturdy climax. One fears that, after having a burly buildup, will the film live up to the expectations in the end or fall flat. But the director does save the best for the last. The film occasionally resorts to convenience when Kanjibhai finds solution to his legal battle in religious scriptures. But then, like Munnabhai found his answer in Gandhigiri, Kanjibhai finds his way out through the holy books. 

Since the film is primarily argument-oriented, it heavily relies on dialogues and it’s important to point here that the lines are pensively penned, making even the improbable seem persuasive. Kanjibhai draws your attention when he says ‘Dharm insaan ko bebas banata hain ya antankwadi’ (Religion makes humans either vulnerable or terrorist). Subsequently Krishna enlightens ‘Tum kisi se uska dharam mat cheeno, phir woh tumhe apna dharam bana lenge’ (If you take away a human’s religion, they will make you their religion). Perhaps one can attribute the sensibility and thoughtfulness of the written material to the Gujarati play ‘Kanji Virrudh Kanji’ on which the film is based. 

Paresh Rawal is amongst the few immensely talented character actors who can carry an entire film on their shoulders. As Kanjibhai he puts in a solid performance and has the conviction to make you contemplate. Akshay Kumar as the ever-smiling Lord Krishna who perpetually spins a keychain on his finger (symbolizing Sudarshan Chakra) is graceful in his extended special appearance. Mithun Chakravarthy as the sissy spiritual guru has few lines but more expressions. Govind Namdeo gets good scope to go theatrical. Om Puri and Nikhil Ratnaparkhi are decent in their respective roles.

It is gutsy for a matinee idol like Akshay Kumar (also the film’s producer) to make a statement against idol worship. Oh My God is a moral science lesson that doesn’t sound preachy. This is a film that not only entertains and inspires but also enlightens. 

For ‘God’s sake’, you can’t afford to miss this one!

Author: Gaurav Malani

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