Rann 2010 Hindi Online Movie

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Review:
Film: “Rann”
Cast: Amitabh Bachchan, Riteish Deshmukh, Sudeep, Paresh Rawal, Rajat Kapoor, Neetu Chandra, Gul Panag, Suchitra Krishnamurthy
Director: Ram Gopal Varma
Rating: 4star

“Rann” is that rare cinema about the collective conscience which we often like to think has gone out of style. Like Mehboob Khan’s “Mother India” and Hrishikesh Mukherjee’s “Satyakam”, “Rann” shows how tough it is to hold your head high up in dignified righteousness in a world where ethics crumble faster than cookies in wide-open jar left out too long in the sun.

Ironically, there isn’t much sunshine in “Rann”. The film has been shot in an anaemic light, symbolizing a world that’s largely losing light.

Cleverly, Ram Gopal Varma situates his morality tale in the cut-throat world of the electronic media where the TRP is god and deadlines the devil. And may the voice of the conscience rest in peace.

Without wasting time Varma introduces us to the plethora of characters who colonise the bowel of a declining channel run by the idealistic Vijay Harshvardhan Malik (Amitabh Bachchan). Malik believes there’s room still for the straight and narrow path in a business where grabbing attention is the murder of all invention.

The glistening sweat on ratings, challenged eyebrows are captured through tight close-ups of worried faces that the camera – Amit Roy’s sharply cruising lenses moving from face-to-face with obstinate restlessness – that give nothing and yet everything away.

As in Varma’s “Sarkar”, the moral battle lines in the media-run tale of “Rann” are drawn between the idealistic patriarch and his US-returned hyper-ventilating son Jai (Kannada star Sudeep) who is so anxious and ambitious, you know he will eventually cause trouble for his ideologue dad’s news-worthiness.

Trouble arrives in the flabby form of a seedy politician Pandey – played by Paresh Rawal and he re-embraces villainy with lip-smacking relish – who plunges into the TRP war on television with no sense of propriety, legalese or the law.

Pandey pompously tells Jai before they both conspire with the help of a rival television tycoon (Mohnish Behl) to trash the idealistic Harshvardhan’s reputation.

The plot accommodates more characters that a miniature touristic island in the holiday season. Not one of the characters need any explanation or occupy a superfluous place in the plot.

Varma’s concern for the characters is genuine but non-judgemental. Each characters even the relatively-shadowy women, emerges as casualty of an over-competitive society where morality goes out of the nearest window.

The narrative is taut, restless and biting in its depiction of corruption in supposedly responsible places.

While much of film’s inner fire burns outwards from the pithy and peppery writing (Rohit Banawlikar), the essential core of idealism is preserved in the understated relationship between the idealistic young rookie Purab Shastri and his mentor Harshvardhan. Wish this bonding was built on.

As restless as his camera, Varma gives no space to the complicated labyrinth of relationships to grow. We are left to gauge the depths and dimensions that underline the furious flow of empathy and antipathy between various characters by reading between the lines.

The first two-thirds of the narrative creates a gripping patchwork of television, drama and politics and how the three worlds often come together to destroy the basic fibre of human morality.

It’s the last quarter of the narrative where Harshvardhan, after realising he has been taken for a ride by his own son’s over-ambitiousness, that packs in the maximum punch.

Cleverly borrowing the premise for its climax from Mehboob Khan’s “Mother India”, “Rann” moves aggressively but confidently into its passionate finale where the patriarchal television tycoon must expose some harsh home-truths to cleanse his own conscience.

“Rann” takes us into a world where right and wrong are more financial than moral issues, where the people who make news conveniently forget that the source is often the nadir of the conscience.

“Rann” is a razor-sharp bitter and biting look at the real world of rapidly-moving moral issues.

Varma extracts superlative performances from the entire cast. From Ritesh’s heartbreaking idealism to Neetu Chandra’s part as Jai Malik’s secret love interest.

As expected Bachchan as the conscience of the plot, presides over the speeedened proceedings with a thoughtful and gentle performance. His climactic speech makes all of us sit up and think about the quality of work we do in order to keep up with the competition.

Luckily, Bachchan’s consistently excellent output is never dependant on the ‘competition’ around him. Ironically, his character is forced to stoop in order to conquer the TRPs.

Varma, who has been lately guilty of making fairly compromised films, rises above the morass of mediocrity with a meteoric force, letting other filmmakers know what he is capable of achieving if he sets his heart to it.

“Rann” defines the role of the electronic media in today’s context with remarkable virility and dramatic force. This is Varma’s best work since “Company”.

Ishqiya Hindi Online Movie And Review

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Review:
Film: “Ishqiya”
Director: Abhishek Choubey
Cast: Naseeruddin Shah, Arshad Warsi, Vidya Balan
Rating: 3star

“Ishqiya” is a very strange film. Strange, not so much in terms of content, unless you really believe there are sleepy dusty towns in north India where boys learn to use a gun before they learn to wash their own bottoms. But in terms of the way the three main characters are thrown against each other in combustions that suggest a brutal bonding between the libido and the landscape.

To cinematographer Mohana Krishna’s credit, he creates in the suburbs of Mumbai(masquerading as Gorakhpur) a kind of sweeping lazy ambience of leisurely self-indulgence.

“Ishqiya” is the kind of cinema that you can love or hate, but cannot be indifferent to. The dusty, parched, sexually and spiritually arid hinterland renders itself effectively to the characters. The uncle-nephew pair of Naseeruddin Shah and Arshad Warsi provide the kind of sweaty, grimy male bonding that we saw in Quentin Tarantino’s “Inglourious Basterds”.

The two protagonists in “Ishqiya” represent the acme of reprehensibility. Come to think of it, there isn’t one character in the plot whom you can begin to like let alone admire. Like the Naseer-Arsha-Vidya triangle the other characters are either hazy or horny, or both. There’s a businessman who sells steel on the surface and supplies illegal arms underneath. He’s supposed to represent the clan of the corrupt.

Vidya Balan’s Krishna is a conniving victim. And if that sounds like a contradiction in terms, it is purposefully projected into a plot that pulsates with a seedy tension and a freewheeling virile humour.

“Ishqiya” is the aesthetic version of toilet graffiti. The writing on the wall is very clear – hate these characters who live by the gun.

How the film finds a central core of gentleness in this milieu of murky machinations is another story. Or maybe it isn’t.

Debutant director Abhishek Choubey tries to create two different worlds, one of criminality and the other of compassion, within one range of vision. It’s a tall order.

Some of the sex and power play among Vidya, Arshad and Naseer’s characters are intriguing and arresting in its swift shifts of dramatic tension from one to the other.

Towards the second overture of this untried symphony of antipathy, the writer and director conspire to create a bizarre climactic spiral involving a shady business tycoon of the area whom our trio of protagonists decide to kidnap.

By the time the kidnapping plan goes horribly awry, the narrative too loses its bearings.

If the film holds you until the end it’s because of the principal performances. Naseeruddin Shah confers a rock-solid tenderness to his ageing criminal-lover’s role.

Arshad Warsi, one of the most underrated actors of our cinema, gets a rare opportunity to sink his skills into a part of a raunchy, randy rogue, out to get the neighbourhood widow to hit the sack.

But the film belongs to Vidya Balan. With a face and eyes that convey a determination to make her way through a rough patriarchal order, Vidya is tender, brittle, cunning and cool – all rolled into a bundle of bewildering emotions that unfold more through her body language than the script. She rises above the self-indulgent realism of the narrative.

A triumph for the actress. But what of the film? How do we evaluate “Ishqiya” beyond its politically-charged, verbally-lurid lunge at realism? Is the film to be applauded for forging a new language of expression? Or should that language have been used with more restrain and tact?

Frankly there are no clear and simple value judgements to be applied to “Ishqiya”. It’s partly a homage to the rugged Westerns from Hollywood, and partly an attempt to penetrate the north Indian small-town hinterland where people don’t just live with violence, they even enjoy it.

But did this film have to follow them?

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Adhurs Telugu Online Movie 2010 DVD Rip And Review

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Review:
For those of you who like to laugh out loud and have no expectations of how a Vinayak or NTR film should be, Adurs offers good amount of entertainment. The film's greatest strength is its comedy and it may be said that we have never seen a better comedy in any of the previous Vinayak or, for that matter, Junior film in the past. It is clear that Adurs' writers and the director knew well beforehand that they were dealing with an average plot, involving two twins separated at birth by that favourite old lady, the bhamma in cahoots with the nurse, and the more ordinary premise of one growing up to be valorous and the other a timid one, and instill enough funniness into the proceedings.

To begin with the story, Narasimham (NTR) works for Sayaji Shinde, the cop in-charge of cleansing the city of extortionists. He intercepts the calls between noted extortion gangs like that of Rasool, knows who they are extracting big bucks from and jumps into action at the right moment, killing the goons in no time. Naras gradually becomes a menace to Rasool, who plans to exterminate him. In the meanwhile, in comes Chary (NTR again), with the promising Brahmanandam (he plays Bhattacharya), and tickles our funny bone, scene after scene. Chary is the assistant to the priest Bhattu, who keeps himself busy conducting death, marriage ceremonies and film muhurats (one such film is Chakkara Takkuva, the remake version of Amitabh Bacchan's Cheeni Kum. Ha ha..), but his most important business is to cosy up to Chandrakala (Nayanatara), with whom he is madly in love.

The two tracks run parallel, as Nayanatara falls for Chary and Sheela keeps flirting Naras. The director takes care of keeping our interest levels intact by introducing Asish Vidhyarthi, who begins a search operation for Naras, the son of a retired army officer (Nasser). Of course, Naras has already been the target of Rasool's gang. As the interval bang draws to a close, Chary is mistaken for Naras and is taken into captive (just as in the recent Bollywood blockbuster Kaminey). However, in no time, Asish and others catch hold of the real Narasimham. Why has Asish been on a hunt for NTR? How are the two brothers going to play a game with the villains, to escape from the vortex they are in? Answers to these questions are to be found in the second half.

Story wise, Adurs offers nothing new. In fact, let alone the predictability factor, there is no extra effort taken by the makers to make it oomphier - say, through punchy dialogues and inventive action. If total absence of mind-blowing lines and single liners is a low point, vintage NTR not coming alive anywhere, excpet in songs, is a disappointment to all his fans.

The film has a high point, but just one. It's the comedy, which is well executed and performed by Brahmanandam and the Brahmin avatar of NTR. Our star comedian, Brahmi, rules the roost. He is simply terrific. NTR, as his yes-man, is new and fresh, but just not flawless. Basha (MS Narayana)'s comedy is good too. The fun factor slumps down in the second half, when Mahesh Manjrekar (playing a heartless villain) and Raghu Babu continue to be befuddled by comedy of confusion.

Nayana and Sheela have nothing to do except shaking legs with NTR. Dialogues, otherwise good in comedy scenes, are quite poor. Had NTR repeated a thumping performance and shown some wise dialogue diction as the junior priest (watch him speaking in a whole new diction and you find him inadequate), the film would have not been a nightmare for his fans.

Shambo Siva Shambo Telugu Online Movie 2010 PDVD

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Review:


Film: Sambho Siva Sambho
Rating: 2/5
Banner: Sri Sai Ganesh Productions
Cast: Raviteja, Allari Naresh, Siva Balaji, Roja, Suneel, Priyamani, Ahuti Prasad, Sudha, Tanikella Bharani and others.
Cinematography: PG Muttaiah.
Music: Sundar C. Babu.
Presenter: Smt. Bellamkonda Padmavathi.
Producer(s): Bellamkonda Suresh, Bellamkonda Sai Srinivas, Bellamkonda Ganesh Babu.
Director: P. Samudrakhani.
Release Date: January 14, 2010

Ravi Teja and Allari Naresh teamed up for the first time and this has set the right kind of expectations, also with the film being a remake of a Kollywood super hit ‘Nadodigal’, the scales have gone high.

Three friends (Ravi Teja, Naresh, Siva Balaji) would die for each other’s friendships and each of them have their own goals. Ravi Teja puts his time in quest of Government job to marry his uncle’s daughter (Priyamani). Allari Naresh puts efforts to go abroad for reasons untold. Siva Balaji tries for bank loan to start an own business and settle down.

However, the arrival of Ravi Teja’s friend who is keen on marrying the daughter of a factionist (Mukesh Rishi) gets the trio together and they help the love birds get married. In this process, their lives suffer a lot. Things get worse when they discover that the love birds are now on the verge of divorce and getting married elsewhere. What happens after that forms the rest of the story.

In this multi-starrer movie, Ravi Teja is with high spirits as usual and sometimes loud as well. Overall, he has contributed well to the character and the story. This is one of the highlight performances from Naresh. He strikes a chord with the audience with his performance though the story may not be that appealing to our folks. Siva Balaji looks handsome and though he is overshadowed by the presence of Ravi Teja and Naresh, he manages to make his presence felt at many instances.

Priyamani has carried her role with ease and performance driven characters suit well for Priyamani though she opts for glamour. Abhinaya is beautiful and very talented. Despite her impairment of speech and sound, she has given a splendid act.

Mukesh Rishi was evil as usual, Sunil was loud but managed few smiles, Ahuti Prasad was average, Tanikella was neat, Sudha Rani was as per standard. The others didn’t have much to contribute.

Roja appeared in a mother role (mother to Ravi Teja’s friend) as an Ex-MP and her performance is just so-so.

Krishna Bhagawan is the only saving grace for the movie that could spill some laughs on a whole.

Despite the presence of an extremely talented star cast, the film has not been able to appeal much. Technically also, the film lacks luster.

Music could have been better and the sound track didn’t help the confused tempo of the movie.

One can see that ‘Tamil Paityam’ which is usually ‘over’ as per the Telugu standards. The dose of sentiment and the overdose of emotions are something hard to digest.

However, there are few good sequences that can be appreciated and the technical values are good as well. Background score was racy and two songs can be taken home but then their situation was not at all relevant. Overall, the film suffers tempo-problem with partly slow paced and partly fast. The dialogue part or comedy track or narration lacks taste. A few scenes sound interesting and heart-touching in second half. But again the graph falls down. This may not survive for long at the box office.

To sign off on single liner it’s ‘Not Exciting’.

Accident On Hill Road Hindi Online Movie

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Review:
Film: “Accident On Hill Road”
Cast: Celina Jaitley, Abhimanyu Singh, Farooque Shaikh
Director: Mahesh Nair
Rating: 2star

There’s a man stuck on your windscreen! That’s what you want to scream to Celina Jaitley. But gosh, she does so much of that screaming herself that you don’t really want to add to the din in this gory tale that takes place at night.

Celina oozes oomph and is the backbone of this ‘being bad is good’ upturned morality tale. After having knocked down a poor pedestrian (Farooque Shaikh), who spends the rest of the movie stuck to the windshield, the nurse frantically tries to find ways to get rid of the writhing man.

Agony is the film’s main ecstasy. This genre of horror cinema revels in creating acute discomfort and gruesome circumstances for the characters to a point where the audience is actually supposed to enjoy the ceaseless chill spill.

“Accident On Hill Road” is road rage in all its gory splendour, committed to creating a string of incidents that suggest a vicarious mayhem. Debutant direct Mahesh Nair lets loose a binge of blood and gore.

This is Celina’s first real opportunity to sink her teeth into an author-backed role. And she does get into her meaty role…

Then meet her boyfriend – a drug peddler called Sid, playing with menacing aggressiveness by Abhimanyu Singh. What happened to all the noble evil-warring heroes of our films? Sid is so immoral he makes Mogambo look like a cartoon hero.

Apparently adapted from Hollywood horror flick “Stuck”, “Accident On Hill Road” leaves you shaken by its gore-quotient… But not quite stirred.

The original Hollywood film probably describes not just the physical state of the accident victim but also the psychological condition of the audience.

This accident could have been avoided. Since it has has occurred and with screeching tyres, it might as well be borne.

Chance Pe dance Hindi Online Movie 2010

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Review:
Film: “Chance Pe Dance”
Director: Ken Ghosh
Cast: Shahid Kapoor, Genelia D’Souza
Rating: 3star

At one point in this heartwarming journey into the life of a Bollywood struggler, one of the kids in the school where our hero teaches dance wonders how he manages to wear such trendy T-shirts when he lives in a car and has no money for food.

“Arrey, those are duplicates of branded T-shirts, you can get them at Rs.150 on the pavement,” retorts a know-all kid. That one fleeting moment sums up what “Chance Pe Dance” strives to squeeze into two hours of fluid playing-time.

Right from the credit titles, where we see our struggler-hero prepare for another day of selling himself to an unthinking entertainment industry, a slightly seamless splendour lurks at the heart of this film about a Dilliwallah’s struggle to become a star in ‘Big Bad Bollywood’.

Cliched theme? Yup. But some times, some of the most endearing truths of life emerge from situations that work in a direction opposite to the unique.

The fact that Shahid plays the struggler helps…really helps. Here’s an enormously-watchable actor who can take away the ‘acting’ from a character and just make you look at what is being said and done on screen without the baggage of the actor’s personal life being carried forward.

Shahid’s Samir is a portrait of a struggler in all its shades. Samir has defiantly left for Bollywood while his dad (Parikshat Sahni) is left wondering why his son needs to be a film hero in the first place.

Shahid goes through the predictable grind, but with such extraordinary sincerity and involvement, you suddenly realise the one truth about life’s vagaries. Every struggle, no matter how similar on the surface, is different underneath.

Shahid brings out all the shades, nuances and layers in the struggler’s inner life without bending the rules of commercial hero-giri. This is a far better performance than it outwardly seems.

Whether romancing the funny girl next-door, manifesting the disappointments of a struggler who’s getting emotionally worn-out waiting for the big moment, or interacting with the kids in school…Shahid just goes with the flow with a fluidity that goes beyond the dance floor.

Oh, about Shahid’s dancing…is there a better dancer in the film industry today?

The slim but confident plot moves on a smooth surface. This a rom-com with a pleasing, pungent flavour of Mumbai’s sorrowful underbelly that is hidden but palpable beneath the smooth surface.

While Shahid struggles for stardom, the narrative glides along at its own even pace seeking out the wannabe star’s life as a homeless road-dweller who sleeps in his car, and smirks at life’s cruelties.

There are very few characters in the plot. There’s Genelia D’Souza playing a choreographer. Satish Shah, Mohnish Behl and Vikas Bhalla come and go like images seen from a moving train. Director Ken Ghosh keeps the narrative free of complexities beyond the struggler’s immediate preoccupations. And that suits the film’s moderate temperature just fine.

Some moments, specially with the kids, exude the warmth of a ray of sunshine peeping through a partially open door. Watch the sequence where the kids share their lunch with their famished teacher… You’ll go Awwwww!

Though the choreography is uneven and the climactic dance a bit of a disappointment, Shahid comfortably keeps us watching the predictable but perky progression of this penniless pilgrim from the backseat of a car to the red-carpet.

While giving groovy guru-gyan to his students dance teacher Shahid mentions Michael Jackson, Govinda, Prabhu Deva, Hrithik Roshan and Shiamak Davar among the best dancers. We can easily add Shahid’s name to the list.

Pyaar Impossible 2010 Hindi Online Movie

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Review:
Film: “Pyaar Impossible”
Cast: Priyanka Chopra, Uday Chopra, Dino Morea
Director: Jugal Hansraj
Rating: 2star

Pair impossible? You bet! Uday Chopra as the geek in love and Priyanka Chopra as the unattainable self-declared 10-on-10 beauty is a bit of a long shot.

But in films about the romance of the impossible, anything is possible. In the first 15 minutes of the narrative, Uday gawks, sighs and grins goofily every time Priyanka passes by on the college campus. She’s so hot she could scald the film’s frames if only the basic treatment was not so ‘thanda’.

We see Priyanka on roller-skates, on stage pounding a guitar, at the cafe gabbing with the boys… everywhere except in the classroom.

So who said anything about studies?

Soon Alisha (yup, that’s Priyanka’s name) is back in India with a little daughter named Tanya who is the most annoying child actor in recent times. When Uday masquerades as her nanny, Tanya threatens: “I’ll call the cops and tell them you’re doing bad things to me.”

The daughter’s lines are written to sound cool. And the seven-year-old girl mouths them as though she heard them all on television.

Most of the narrative unfolds in Alisha and her daughter’s home where the geek, still smitten after seven years, becomes the monstrously ill-behaved daughter’s nanny.

The world outside this quaint and over-cute domestic scenario is inhabited by corporate types pounding away millions worth of deals on their sleek computers. The geek can only be sleek when he wants. But he’s content in his placid cocoon. Who needs style when you have spectacles and braces?

It’s a ‘jingle’ out there. The soundtrack is suffused with sounds that you want to squeeze down the toilet. The single-mother as played by the excessively self-confident Priyanka seems well-equipped to cope with the quirks of the concrete jungle.

Priyanka’s character offers much room and potential for comment on today’s working women, their effort to balance home with work.

Priyanka’s world in “Pyaar Impossible” seems strangely bereft of harassment. Her greatest stress is to find a nanny for her insufferable daughter. When that is in place, she needs to treat her suave but evil suitor, played with a likeable glint by Dino Morea, to dinner at home.

That too is taken care of by her all-purpose nanny. The dinner sequence has the potential of being a laugh riot. Instead it just stretches on like acres of unkempt grass in need of a mower.

Most of the film replicates the over-studied rhythm of a sitcom about a smart working -class babe who can’t see love staring down at her right inside her home.

Priyanka in a stunning new hair cut looks every inch her part. But would someone please explain why she needs to show her legs 24×7? Is there some kind of a hidden statement in her leggy presence?

Some of Priyanka’s best scenes suffer from the actress’ discernible over confidence. Where is the vulnerable quality in this single mother’s personality? In contrast, Uday is understated gentle and in-character throughout. He knows the inner world of the geek.

Technically competent “Love Impossible” is not a bad film. It’s just a dull film.

Watch Kasko Telugu Online Movie And Download Free And Review

Kasko Telugu Online Movie Download Free


Review:

Released on the eve of Christmas, Vaibhav-starrer Kasko, presented by yesteryear's star director Kodandarami Reddy, fails to cash in on the festive fervour. Coming up with a rather weak storyline, the film tries to bank on Brahmanandam's star comedian status in the first half. Vaibhav tries his best to pull through the action sequences and comedy scenes, but it is dance where he is at his best. G Nageshwar Reddy (director) should have resorted to better techniques to entertain the audience, instead of trying to incorporate Telugu cinema's most-trusted elements like comedy (which more often than not take the form of cheap humour) and more action than is necessary.

Kasko starts off well with a powerful action sequence, where our hero has got just 20 minutes to finish all the thugs, because he should catch a train to Hyderabad. He well completes the task and succeeds to escape his father's eyes (which means he has not a single cut on his body and his clothes neat). On board, he accidentally bumps into Mahesh Babu (Brahmanandam), with whom he goes on to stay for the next few weeks. Also there is a girl, who has no purpose except to show her skin in two numbers and try make a sleazy film with a fatso in a mall. Mahesh shares his flashback where he was humiliated by Allauddin's men at the Charminar; here, though the intent of the director is to evoke laughter, it doesn't end up producing because no one wants to see an IPS champ stripped by street rowdies, even in a film. And if it is shown to produce laughter, it instead seems baffling and insensitive. If Brahmanandam's rage to eliminate rowdyism is mere anger without the guts, Pawan Kalyan a.k.a Vamsi (Vaibhav) has got the valour to destroy Topu Malleesh, Saleem and others, Wednesday after Wednesday.

Meanwhile, our hero is making an endless search for Hasina Begum. If we do not know why, a call from his father (Chalapathi Rao) asking Vaibhav to find her soon tries to pep up suspense. Allauddin is presented as the biggest villain of them all, but in second half he has no role. Though the hero is on a hunt for him because he alone holds the clue to his lover girl's whereabouts, he has the time to indulge in merry-making, shake his hips, tease and even join a software company. How come he is able to make fun when his 'dil ki dhadkan' is in the villain's custody and when he doesn't even know if she is safe?

Go and find out for yourself why the hero goes to Warangal in the second half and why Prakash Rawat has the girl arrested in his house.

Do not expect an entertainer. Everything is hackneyed and tacky. From performances to dialogue, screenplay and music, everything makes you ask for more. Why does the hero need to worry to know the girl's name when she is an RJ who tells her name every five minutes on her show?

Vaibhav needs to develop his style and not imitate others. He belongs to that class of the heroes who follows the blueprint laid down by bigger screengods and it doesn't augur well for a budding male star. Shwetha Basu should slim down and should not do easy roles. The director tries to draw from others' signature (Sreenu Vaitla et al).

Jaya Prakash Reddy's comedy sounds a repetition of some of his previous acts, especially Kick. The Padma Shri comedian manages to tickle the funny bone, on and off. Rawat is insufficiently menacing.

Maa Nana Chiranjeevi Telugu Online Movie Full PDVD

Maa Nana Chiranjeevi Telugu Online Movie Full PDVD Free Download



Review:
It is not uncommon to see a man completely weakened, wan and tired after he's been through a blood donation. And if it is his blood that was donated, it is even justified. However, Chiranjeevi (Jagapathi Babu) is a man of substance - he donates his blood 5 times in a single day to 5 different hospitals, and the next day donates some to his son, after which he attends the physical examination of the Home Guards in the running race of which he misses the finish line by exactly 3 inches.

Maa Nanna Chiranjeevi is the story of one man's efforts to move heaven and earth so his son can get a decent life. That, and the fact that it looks inspired by The Pursuit Of Happyness and Ta Ra Rum Pum make sure that theatres are irrigated with tears no less than the volume of the Bay Of Bengal.

It all starts in Razole, where the illiterate Chiranjeevi is the richest man around. After he gets married, his well-educated wife, who's a career woman, doesn't respect him or his riches. She invests in stocks, software, prawns, real estate, and everything except a course in acting. On top of it, she's rude to him, and accuses him of not earning enough to keep the family going, and finally, dumps him for a job elsewhere.

Chiranjeevi then takes his son (Master Atulith) to Hyderabad, where he wants to get him admitted to the finest school in town, but its fees are high enough to buy the whole of Italy. After being swindled out of his last paisa by a cheat called Rohit (Jayaprakash Reddy), however, they're in utter poverty.

So they eat in random places, bathe in random places, and once, sleep inside a railway station restroom. Later in the flick, they sleep inside an empty movie theatre. Not because it is screening this movie, but because they have nowhere else to go. Throughout the movie, Chiranjeevi never tells his child they're poor, and keeps him thinking that this is all part of a criminal pursuit because Chiranjeevi is an undercover CID.

Chiranjeevi scrimps and scrounges for 20 hours a day for the rest of the month, all the while preparing for the Home Guards entrance examination, and on the last day, donates his blood for the money. But then, some goons beat him up and rob him of all his hard-earned money. The next day, his son has an accident in which he might lose his eyesight. Chiranjeevi now needs money desperately, but not as desperately as he needs to end this flick. He quickly goes and beats up the thugs who robbed him, gets his son treated, gets recruited into the Home Guards service, re-unites with his wife, and calls it curtains.

Maa Nanna Chiranjeevi isn't a bad film. It can be heartwarming, and even inspiring, if watched in the right spirit. However, some overly melodramatic scenes show that the director's main mission is to yank at as many heartstrings as he can, and in the process, get us to yank out as much hair from our heads as we can.

The other problem with the movie is the character of the kid - he is evidently a fairly precocious child, and still actually believes what his father tells him about them both being in a Bond-style story. Otherwise, this tear-jerker seems to be a film targeted at kids, going by the strong presence of the child artiste, the absence of gore and nudity in the movie, and the absence of kids in the theatre.

Jagapathi looks tired and jaded, but pulls off a good performance. Master Atulith is cute and talented as well. M S Narayana, Telangana Sakuntala, Brahmanandam, Ali and a host of others play supporting roles, and they're good. The comedy track, which is inundated with references to other movies, won't make your stomach hurt, but won't make it kick your last meal out either.

There isn't much by way of music, except for a few songs. The last song, picturized on the kid, could have worked well if placed in a real children's movie. The production values are okay.

There are better things to do this New Year, than land up at this one and feel sorry for the protagonist. And if you already have, then feeling sorry for yourself would be a good start.

Gentleman Telugu Online Movie 2009 And Review

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Posani Gentleman Movie Review :

Posani Gentleman is a message oriented movie with comedy backdrop. In which Posani murali Krishna playing a role of software Engg and Aarthi Agarwal paring up for the first time with Posani in this movie.

Posani Krishna Murali, Aarthi Agarwal starrer ‘Gentleman’ is all set to hit the theatres on December 25th. The film had completed its shooting and is ready for release.A new comer, Natasha is playing a key role in the movie. Gentleman is a messge-oriented film. The Mental Krishna actor plays a software engineer in this film, who acts like a gentleman outside but a sadistic husband at home.

Politico-actor-director-writer Posani Krishnamurali’s endeavours are eerie, if not outright, ludicrous. A few months back, he released Mental Krishna and claimed to release Gali Seenu in succession. If he called Mental Krishna a film that was coming with a message, and worse, that it was a film the women would enjoy watching (!!!), he is repeating the same claim for his forthcoming filmGentleman.

We cannot comment on the film until we actually watch it; so we can hope to see something sensible in this film. And yes, Posani explores the husband-wife relationship inthe film. Interesting twist: he plays a software engineer. At this age? He must be a project leader. But, do not be surprised even if he is seen as a fresher! None can predict what Posani is upto, nowadays.

The director is saying that his new film tells us that for a woman, her behaviour and traits are the hallmarks of her chastity. “The film has all the ingredients that women audience can appreciate,” Krishnamurali said. The film has Aarthi Agarwal playing his wife. Jitin, Nagababu, Kota Sreenivasarao are playing other characters

Saleem Telugu Online Movie And Review

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Coming from a front-line director, a successful production house and the combination of Vishnu-Illeana, with music by Bollywood brain Sandeep Chowtha, Saleem has been triggering the expectations of the audience since months. Added to it, the boasting of of its high cost, which the producer pegged at Rs. 23 cr., certainly made the audience expect a fascinating technical stuff from the potboiler. Bummer! Yes, Saleem is a sour disappointment.

Watching the film, you will find it to be a fake exercise in doling out entertainment. Thus, the name Saleem Faku, christened after the famous Radio Mirchi caricature, who speaks nonsense. An able director like YVS Chowdhary, who bounced back with the youthful film Devadasu, has no sense of direction here. The script does not know what it is up to. Scenes are botched up rather sadly. All the filmmaker wishes here is to make a masala entertainer, with generous skin show, tacky action, unappetising songs and mindless comedy.

What is the film all about? Well, it is the story about how a brainless girl (Satyavathi played by Illeana) transforms from being a votary of Western culture (of the European variety to be specific) to a lover of the Bharatiya culture and its family system. (Making one, at the risk of being mocked at for trying to figure out a theme). All it takes is just two or three scenes, spanning across the length of the film, for the heroine to convert. So, what is all the rest of the film about? You have the outrageously silly Satyavathi asking for three kisses from Munna (Saleem in incognito, played by Vishnu), wherever it is possible and even in a temple, Appala Nayadu (Mukesh Rishi, whose existence doesn't have a logic) baying for the blood of Napolean and his family, OJo (go and find out what it stands for, but Mohan Babu is playing it) who swoons in the presence of Kaveri Jha and goes on an indefinite fast-unto-death waiting for her for two days and runs a dreaded mafia in free time, and much more. Desperately trying to make us laugh is Dance Master Ali (concept lekunda kalu kadapadu), who enters Napolean's household to teach dance, but who also fails, making us wonder why the respected head of the family would allow a skimpily-clothed sidekick to run amok in a chaste environment.

Coming to the plot, there enters one Munna into Illeana's household wanting to make her fall in love. He tricks the family into believing that he is a purushottama and settles down as the important member. While running his game plan, Munna (yes, he is an orphan) is converted by the affection showered by the family on their girl Satyavathi. Keeping with the good tradition of the Telugu hero, he does not want to cause a stir in the family and break the idyll in the great Napolean household. So, he tells Illeana that he can "close the windows" (pucca translation with due respect to the dialogue writer, which does a shoddy job) of his heart and leave the family (no faking, it's for real). On her part, Satyavathi says that she is attracted to him and lustily follows Munna. She wants, as already mentioned, to plant three kisses on him, each having its own All we get to know before the interval bang is that she is only using the Munna with a ramrod valour to help herself elope with Krish, her Bangkok-based lover.

Hero moans and croons 'asathyavathi, asathyavathi.' On board, Illeana clarifies to everyone that she felt suffocated with the love of a nuclear family. Parents are heart-broken. Hero now goes on a mission. This is when you know Munna is a.ka. Saleem.

Watch the film at your own peril. There are new-age mafias, where men are romantic and women are blood-thirsty. The heroine does not squirm when her fiance invites lechers to quote a price for winning a chance to kiss Sathyavathi.

Performances are stupid, except Illeana who saves the day for her admirers amongst us. Vishnu is pretty average. Mohan Babu must be thanked for allowing his assistant (Raghu Babu) to ridicule him.

Another disaster from YVS, who does not allow Okka Mogadu's legacy to die down.

Yuva Telugu Online Movie

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Vikramarkudu Telugu Online Movie And Download Free Dvd Rip

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