Mayanti Langer In Tv Show
![Mayanti Langer is an Indian TV sports journalist with Zee Sports and Ten Sports. She is the daughter of Major General Sanjiv Langer who worked in UN and Mrs. Preminda Langer, an award winning teacher. She is the granddaughter of Lt.General Rajinder Nath Batra and Mrs. Priyo Batra. She is a BA(Hons) graduate from Hindu College, Delhi University.She grew her interest in football when she was in USA as his father worked in UN. She was in her college football team in the beginning and then became a guest anchor for a broadcast of FIFA beach football [1]. With the success of the broadcast she was offered a spot as host and associate producer for Football Cafe on Zee Sports [2]. Langer then went on to work for various football shows on the Zee network providing commentary and interviews during pre-match, half-time and post-match shows [3]. Currently she is part of the broadcast team for the Indian Cricket League on Zee Sports and Ten Sports. She hosts the interview segment during pre-match, half-time and post-match shows of the broadcast. She was also the anchor on Zee Sports for the Nehru Cup held in New Delhi at the Ambedkar Stadium.](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAeBRtkyow7xTSQ556kxBp1wF2Jf5pZUd9WTxL8Aokw5zXol3_sehB4Qhq4h0jG8jh_obrBd1ZqZ8jlIB4zI2Mqo_cR2xVc3u3McVx3glgWAYflMgJ25VyoFCfJwQcbdLIOxtYxMXNDa6p/s1600-h/mayanti-langer2.jpg)
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Teen Patti Hindi Online Movie 2010 And Review
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Review:
Film: Teen Patti
Cast: Amitabh Bachchan, Ben Kingsley, R Madhavan, Shradha Kapoor
Genre: Thriller
Direction: Leena Yadav
Duration: 2 hours 14 minutes
Review this movie
Story: Professor Venkat Subramaniam, a mathematical genius is tired being ignored by his community. He decides to prove his experiments by real life evidence from the world of gambling and uses a bunch of students to enter the sleazy underworld of card sharpeners. But is there a way out of the world of crime? Is there an end to human greed?
Film Review: Ready for a razor sharp teaser? Watch Teen Patti. The film is a taut thriller that's not only done with loads of style and attitude, it also showcases a fine ensemble cast of youngsters who represent the edginess of today's youth. And if that's not enough, there's further enticement in the character and currently in-form status of Amitabh Bachchan, who is hell bent on a second, third and fourth coming. After the mesmerising Auro in Paa, Amitabh's eccentric mathematical wizard who talks to Albert Einstein, when he's alone, is immensely watchable in Teen Patti. Of course, there are his musings with Ben Kingsley too. But one would have wished the film makers had made more substantial use of the tumultuous talent of Mr Kingsley than reducing him to a mere listener.
Needless to say, most of Teen Patti unfolds in down market gambling dens as the odd assortment of newbie gamblers -- four students, and a professor, along with Mr Bachchan -- test the theory of probability through the game of cards. But didn't grandmum tell us gambling is addictive. So, before you know, probability is set aside and greed sets in. Along with a bit of blackmail. For even if the professor wants to opt out of this game that's getting dangerous with each passing day, he really can't. Someone's threatening to harm the babalog, if the booty stops coming in the dirty plastic bag that's to be regularly discarded in the bin. But more than all the external threat, it's the insidious changes that are occurring within the group that are a greater cause of alarm. While a young couple aspires to become the next Bonnie and Clyde, greed's corroding some others. Will the days of innocence return? Is crime reversible?
Now these are just a few tantalising queries Teen Patti chooses to address. The second half does get somewhat repetitive, with the film refusing to move out of the gambling dens and the climax gets somewhat hurried. But majorly, the film holds as a taut thriller that keeps you glued for most of the screen time. Watch out for Sunidhi Chauhan's item number, Teri Neeyat Kharab Hai. It rocks.
A word about:
Performances: Amitabh Bachchan leads the bratpack, with R Madhavan holding the rear. Amongst the bratpack, Shradha Kapoor makes an interesting debut as the edgy youngster who sheds her specs for sleaze, with alacrity
Screenplay: Witty and concise, Leena Yadav displays her skills as a narrator.
Dialogue: Ben Rekhi has the characters speak in real time, with real fears and real joys.
Music: Salim-Suleman's scripts a memorable item number: Neeyat Kharab Hai.
Choreography: Watch out for Ashley Lobo's oomph-oozing number, Neeyat Kharab Hai.
Styling: Ameira Punvan's costumes are funky and full of fun.
Karthik Calling Karthik Hindi Online Movie Full 2010 And Review
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Review:
Film: “Karthik Calling Karthik”
Cast: Farhan Akhtar, Deepika Padukone
Director: Vijay Lalvani
Rating: 3 out of 5
Desolation is a distant cousin to suburban seclusion. And “Karthik Calling Karthik” is an interesting if flawed fable of the damned.
The protagonist is Karthik (Farhan Akhtar), so timid he could merge into the woodwork of his office if only the decor was not so much glass.
Karthik is bullied by his boss (Ram Kumar), sniggered at by his smarter colleagues and absent-mindedly ignored by the beauty in the workplace whom Karthik gazes at sideways and writes scores of unsent e-mailS to. She’s the unattainable beauty.
This is the world of ‘Rocket Singh’ without the turban and the placidity. While Shimit Amin’s “Rocket Singh – Salesman Of The Year” was about an office-goer who craved for acceptance, Karthik just wants to be less unhappy in his space. It’s not too much to ask for. But who’s listening? Except a voice on the phone that sounds suspiciously like Karthik’s to his own ear.
The build-up of Karthik’s dreary world captures the claustrophobia of suburban existence without forgetting to add humour to the proceedings. The moments between Karthik and the gregarious Shonali (Deepika) have that touch of lively realism taken from lives we’ve known, lived and somewhere tried to reject. However, the dialogues between the couple try too hard to be ‘cool’.
The relationship that Karthik develops with Shonali is far outdistanced in intensity by the one that he develops with the Chinese phone set. And after a while the ‘extended monologues’ begin to lose their credibility.
But hold on. Debutant director Vijay Lalwani, self-assured and apparently fully conscious of where he’s taking his story, gives us a second-half that is gut-wrenching in its portrayal of the individual as an island.
To escape the dictatorial and tyrannical voice on the phone, Karthik buys a ticket to an unknown city which to our visual delight, turns out to be Kochi. Karthik rents a modest near-dingy room and begins life anew as a battered man seeking supreme anonymity with no telephone lines to break his self-imposed deathly stillness of existence.
The second movement of the quietly simmering plot comes to a poignant if faltering halt in a city whose tranquility the cinematographer Sanu Verghese embraces by a rejection of the urban chaos. However, the revelation on Karthik’s psychological condition surprises no one except Karthik himself, and least of all his shrink Shefali Shah.
“Karthik Calling Karthik” is a gripping jigsaw, piecing together a mind that plays games with itself. The winner is destiny. The pace is consciously sluggish suggesting the deep-rooted association of a vigour-less existence with the quality of life that cities offer you in exchange for a comfortable flat in a techno-suffused surrounding.
Farhan, the life and breath of the proceedings, epitomizes urban anonymity in his body language, speech and hesitant attempts to reach out to a world that has no patience with the over-sensitive.
Farhan’s is indeed a super-confident performance as a man lacking self-confidence. The film itself doesn’t lack self-assurance. But the absence of what one may call an energetic exterior could well be mistaken by some viewers as ingrained inertia, a malaise that the film’s protagonist suffers from.
Do not mistake the man for the plot.
Leader Telugu Online Movie Full And Review
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Review:
After raising the expectations of the audience top-notch, Shekar Kammula's political flick releases with a bang. The film comes in an avatar that is both commendably realistic as well as exceedingly direct and straightforward. Leader has a soul, but it also has a frail body. It's a film which will be counted as Kammula's first ever movie where the talented director has taken creative freedom to an extent that is more than what he should actually have.This film on the ultimate political leadership that a people should be given, is fresh-looking, bold and partly slice-of-life. However, there is a splurge of platitudes and schemes that you would never expect the film to throw up in the latter half. It begins with a promise, continues to be a rare political caper through the first half, but sadly becomes a simplistic as well as unintelligent one in the lengthier half-two. Thankfully, the way Leader is ended is powerful and does dole out an impression that the greater politician has been born.
Arjun Prasad (Rana) is back in India, from the US, when his Chief Minister-father Sanjeevayya (Suman) is assassinated in a landmine blast. He decides to fulfill the last wish of his father and the only wish of his mother (Suhasini): that he succeed Suman as the Chief Minister of the state. Not surprisingly, the path to the gaddi is full of thorns and inhabited by life-endangering monsters. There is Dhananjay (Subba Raju), a 30-year old politico who wants to be the next CM. Behind him are forces that openly claim the monopoly of power, in full glare of the arc lights of 24/7 news channels. Arjun has got an onerous task to complete before he can finally claim the top post in the state. He evolves a philosophy: buy them all. He is a vast success in the plot he scripts and executes with utmost wile.
But, is it all done? Will Arjun Prasad, with a Doctorate and an experience at running a corporate house, be able to realise the dream of rooting out corruption and abolish the caste system? No prizes for guessing that the ugly system is going to mar him at every step of this aspiring maverick leader.
Watch out for the second half to know if the new Commander-In-Chief finally makes it and shows it to one and all, stunning the country and becoming a messiah of the masses - all by working in the spirit of the Constitution.
Leader is definitely a classy tale of a dynasty politico's rise, told with impeccable honesty by the writer-director. Its biggest strength is the idealistic character of Rana that is consumed by one goal and only that. The way it moves ahead in materialising the mission is inspiring and kudos to Kammula for penning some of the best lines. The scenes involving Kota Srinivasa Rao and Rana, the portrayal of the Mammon-worshipping legislators, the depiction of political sycophancy, corruption and heinousness, the angst of the Dalit - all stand out for their marvellous screenplay.
The glitch is too obvious. It comes too late in the film and stays on for way too long. One may complain about the way the film rambles into a candyfloss flick in the second half, only set in the corridors of power. Here too, a soulful romance between an extra-ordinary policy-maker and an ordinary girl could have been used to pep up proceedings. Disappointingly enough, the most promising Tollywood director fails the film in this aspect. The media, which is portrayed as story-hungry, is not interested about the CM's flirtations. Unbelievable!
The way Arjun grows demoralised in his own eyes and the decision he then makes is outstanding and an essential part of the film's crux. Though you never expected it, it comes along only to raise the stature of the protagonist in our eyes.
Rana is, doubtless, very good. He carries the role with a poise. The diction (somewhere close to Venkatesh's) and baritone are excellent. Expression-wise, he sets his own tone, without following a beaten track. Subba Raju, Kota, Suhasini and Harshwardhan fit their roles. Priya Anand is cute, while Richa is found wanted.
Technically, music (Mickey J Meyer) is a nice package, so also art direction (Thota Tharani) and cinematography (Vijay C Kumaar) which make Leader a rich fare.
All in all, but for a lull of simplism that casts its unhealthy spell on the film and a boring romantic track, Leader is spotless. More, it sounds the bugle for more such cinema.
Released on: 19th Feb, 2010
Bindaas Telugu Online Movie , Full Download And Review
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If you care a damn for major hiccups in story and screenplay, not to forget other technical aspects crucial for a film like cinematography, Bindaas would seem tolerable. Veeru Potla's directorial debut is unexpectedly mediocre. Given that the story writer has earlier lent excellent stories for films like 'Varsham' to 'Athadu' and 'Nuvvosthanante Nenoddantana', you feel surprised at the fact that he has selected a wafer thin line for his debut.
The film, one, follows from a weak premise, and two, proceeds with an equally routine narrative. Routine, because we can predict well in advance what the hero with a scheming attitude (typical Sreenu Vaitla product) is going to do with the villains by entering into their house. Here, you should not expect much entertainment, because Bindaas does not match any where to the quality and intelligence of the films it seems to have been inspired from.
To begin with, there is the murder of Seshadir Naidu's (Jayaprakash Reddy) bava, Jeeva, suspected to be at the hands of Mahendra Naidu's (Ahuthi Prasad) thugs. Shakuntala, Jeeva's wife, seethes with anger, so also Jayaprakash, who vows to kill the family members of Ahuthi. In the city, Ajay (Manchu Manoj) is living a bindaas life on the college campus, when he is picked up by Ahuthi's (who is his uncle) men, to his native Chittoor. The hero is hated by everyone in the household, but nothing deters Ajay from loving them and seeing them as his family. He goes about playing pranks on Girija (Sheena), who falls in love with him sooner than later. In the household, you have idiotic chaps like Vennela Kishore and Master Bharath, who go overboard in trying to make us laugh. Before the interval bang, the blood-thirsty rivals try to catch hold of Bharath and Kishore, but Ajay thumps them out single-handedly. However, he is thrown out of the house for putting the two's lives in risk.
If you hoped the second half would be any better, you are in for a bigger disappointment. The proceedings are predictable, with the director never giving a damn to realise that the audiences have watched film after film with the same line.
Far from tickling our funny bone, the scenes test our patience. Barring a few scenes, the film never seems up to the mark. While Manoj repeats his acting, with the Nenu Meeku Telusa hangover deterring him, Sheena is below average. Thankfully, the diminutive girl is not seen for more than twice in the second half. For once, you don't complain about the decreasing importance given to heroines in our film. This one is a blessing in disguise.
What were Raghu Babu, Sunil and MS doing? Also, should Brahmandam be not felicitated for making us laugh even in badly-written scenes?
Performances of character artistes, ranging from Ahuthi, Jayaprakash to Subbaraju are adequate. Music is just about okay. Dialogue lack any intelligence and sound pale.
All in all, Bindaas is likable if you care a damn for your money's worth. That's, wear a bindaas attitude and waste you hard-earned money.
Athadu Telugu Online Movie Full Review
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Review:
Jeevi rating: 3.25/5
Punchline: Killer and a Gentleman
Genre: Action
Type: Straight
Banner: Sri Jayabheri Art Productions
Cast: Mahesh Babu, Trisha, Prakash Raj, Sonu Sood, Kota Srinivasa Rao, Dharmavarapu, Giri Babu, Nassar, Brahmanandam, Sunil, Rallapally, Tanikella Bharani, Sayaji Shinde, Charan Raj, Rahul Dev, Anant, Brahmaji, Giridhar, Sudha, Hema, Sruthi, Harika, Sana, Jayaprakash Reddy & Gundu Hanmantha Rao
Music: Mani Sharma
Lyrics: Sirivennela & Vishwah
Fights: Peter Hynes
Choreography: Raju Sundaram, Brinda & Vaibhavi Merchant
Art: Thota Tharani
Editing: Srikar Prasad
Cinematography: KV Guhan
Presents: M Murali Mohan
Producers: D Kishore & M Rammohan
Story - screenplay - dialogues - direction: Trivikram
Theatrical release date: 10th August 2005
Review
Story
Nandu (Mahesh Babu), an orphan, is a top-notch professional killer in town. He maneuvers his operations with the help of his buddy (Sonu Sood). In one such operation, he falls into the eyes of the cops. While fleeing from the crime scene, he unintentionally becomes the cause for the death of a stranger called Pardhoo (Rajiv Kanakala), a run-away youngster who wants to return home after 12 years. Nandu assumes the identity of Pardhoo and enters his household in a remote village to escape from the cops. The rest of the story is all about how Nandu solves all the problems.
Artists Performance
Mahesh Babu: Mahesh Babu is stylish and brilliant as professional killer. He suited the profile of Nandu to the tee. He lives up to his image of Prince Charming with his mesmerizing looks. He transformed smoothly from the character of Nandu to Pardhoo, yet shown the variation in histrionics that come out due to Nandu's guiltiness to impersonate Pardhoo.
Trisha: Trisha is in her elements in this film with traditional attire and cute mannerisms. The only difference between her characters in Varsham & NVNV and this film is that the voice dubbed by Savitha Reddy is mellowed down a bit, which is good. However, her role in this film is less compared to her past films.
Others: Sonu Sood is perfect. Prakash Raj is adequate as the investigating officer. Tanikella Bharani's get-up and dialogue delivery is different when compared to the roles he is offered these days. Brahmaji is effectively used for a comedy fight in this film. Nassar donned the role of an old man. Frail voice dubbing by SP Balu suited him. Brahmanandam and Dharmavarapu Subramanyam succeeded in creating good humor. Sunil is good as loyal friend. Kota and Sayaji Shinde are adequate. K Viswanath did guest appearance as CBI's local chief.
Technical Departments:
Story: The thread of Mahesh Babu and Sonu Sood seem to have roots in Sylvester Stallone's Assassins. The thread of hero masquerading as some other person has similarities to the storyline of Varasudocchadu. These two threads are interwoven to make this story. The story of this film is entirely different from Trivikram's earlier films as story writer.
Screenplay - direction: Trivikram is known for his class entertainers that are loaded with sensible humor and nice emotional quotient. He tried something different for this film. The way he opened the film with a tree shot is terrific. You feel like you are watching Ram Gopal Varma's film in the first half an hour. His taking is trendy and stylish. When the scene shifts to village, Trivikram tries to lace in his typical humor. The screenplay of the film is not binding enough to blend these two stories (contract killer story and masquerader story). Nevertheless, he could not hold the similar tempo in the second half. The continuity and logic behind certain scenes is missing.
The following scenes of the film are brilliant -
1. The first shot where kid shoots while serving tea.
2. The rewinding scene in which Mahesh stabs somebody in old city
3. Mahesh's bargain with Kota over telephone
4. Mahesh telling heroine that she is not beautiful
5. Mahesh delivering cash to poojari
6. Mahesh first encounter with Tanikella
7. Mahesh's fight with Brahmaji
8. Brahmanandam comedy episode (nuts & bolts)
9. Mahesh's last encounter with Kota
The following scenes seem to drew inspiration from Hollywood flicks -
1. Hero jumping into train from a skyscraper - US Marshals
2. Brahmanandam jumping through window - Meet the parents
The following logics are unexplained -
1. What made kid turn into a killer?
2. Why would Sonu Sood cheat Mahesh Babu for an amount 5 times more than what he is going to be paid?
3. What happened to Rahul Dev in the kid's episode and why he reveals the names of his protégés in the interrogation?
4. The elders and grandfather readily accepting masquerader even without an iota of doubt.
Photography: Photography of the film is terrific. The camera angles, shot framing, lighting effects and camera movements are appropriate to the respective scenes. A tint is used for the first half an hour of the film which made this film appear like the Hollywood films made with Mexican backdrop. Cinematographer KV Guhan deserves a pat on his back for his fine work.
Fights: Fights by Peter Hynes are excellent. All the fights in this film are powerful and natural looking. Only for the fights in climax wires and threadwork was used. Two separate fights involving Tanikella Bharani and Brahmaji have lots of humor injected in them. It is very difficult to make the fights appeal to Andhra audiences when shootout (pistol) is involved. But the shootouts in this film are an exception.
Dialogues: Trivikram is known for his punch comedy dialogues. This film has limited punch dialogues compared his earlier film, which is understandable because this story does not allow more comedy scenes. Still, the comedy dialogues written for Dharmavarapu and Brahmanandam are good. The way Trivikram compared how things appear beautiful when you watch them at the right moments by comparing formation of love to a beautiful moonlight is very thoughtful. His satire on using Sumos in killings is good.
Music: Music by Mani Sharma is good. The picturization of the first song (title song) which comes as background song for titles is wonderful. 'Pilla gaali allari' is a teasing song between the lead pair in house set with other artists participating in. Neetho Cheppana song has got typical Mexican music that is shot in abroad. Lots of bleaching shots were used in this song. The last song 'Pilichina Ranantava' has something for fans to cheer about. However, the songs in this film (except for the 1st song) form as the speed breaker to the narration. Background music and rerecording of the film is good.
Other departments: Editing by Srikar Prasad is good. Lyrics by Sirivennela are very good, as usual. Artwork by Thota Tharani is adequate. Production values by Jayabheri banner are grand.
Analysis: The film opens in an extraordinary style. The first half an hour of the film is excellent. The remaining part of the first half is good. The second half of the film is little boring with very slow narration. The positive points of the film are Mahesh Babu, Trivikram's taking, photography, fights and dialogues. The negative points of the film are not being able to blend in two stories well and not able to get the emotions worked out for village scenes in the second half. On a whole, this film is a decent flick for class audiences. The commercial success of the film would depend on how masses embrace it. You may watch it!
Veer Hindi Online Movie Download And Review
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Movie: “Veer”
Directed by: Anil Sharma
Starring: Mithun Chakraborty, Salman Khan, Neena Gupta, Sohail Khan, Zarine Khan
Rating:
“Veer” is one of those intended epics that goes wrong. Horribly wrong.
Director Anil Sharma had combined history and kitsch with compelling consequences in “Gadar Ek Prem Katha”. But In “Veer”, the khichdi of fact and fiction runs amok, creating a blend of babble and bloodshed that is more hysterical than historic.
“Veer” wallows in primitive valour. Father Mithun Chakraborty (the only tolerable performance in the litany of the unbearable) and son Salman Khan often mock-fight, as the burly members of their tribe urge them on like animals in a zestful zoo. Even Neena Gupta who plays Mithun’s wife (and has apparently forgotten she was once a good actress) joins in the macho revelry.
There are no smoking guns. Only shining swords slicing across the epic canvas with fashionable bravura.
Costume dramas are very tricky cinematic efforts. How do the makers know if the clothes and props suggesting periodicity are going to work? In this case, they just don’t!
The ‘research’ that seems to have gone into the colossal fiasco is at best scratch level. At worst the detailing suggested by the art director (Sanjay Dhabade) and costumes (Anna Singh) smack of amateurish stage plays where the actors create characters purely through props.
And here the props include the Buckingham Palace where our valorous hero Veer (Salman Khan) and his brother-sidekick (Sohail Khan, behaving as though he was in the sequel to “Maine Pyar Kyun Kiya”) teach those ‘Gora Log’ a few lessons on how to treat us Indians with respect and dignity.
Where would independent India be without such strident architects of freedom? It is doubtful that a man like Veer actually existed in the history of our freedom movement. But does anyone really care?
“Veer” is not really a freedom fighter. He’s Salman Khan with long hair and costume jewellery (the diamond ear-tops could be the envy of all his leading ladies) scowling with the same intensity into the panoramic camera as he did earlier in “Wanted”.
Clothes definitely maketh this man, although Veer in one of the unintentionally funny sequences of the film reprimands the gora professor in London (teaching the most motley crew of colonists seen in any film) saying, “Clothes do not make the man, the man makes the clothes” – a quote on he says he borrowed from George Bernard Shaw.
Where did he learn about Shaw? In school? Do such questions really matter when the intention is to create an optical illusion merging myth and history in a claustrophobic clasp that leaves no breathing space for introspective punctuations?
“Veer” is one sweeping rush of blood, sweat, gore, adrenaline and saliva. It is meant to sweep audiences off its collective feet. But its takeoff point, namely the ideological slant, is so faulty, you wonder what these blood-thirsty warriors are fighting for.
Most of the time the characters’ motivations are superimposed by a passionate but pedestrian melodrama.
Director Anil Sharma’s inherent sense of drama comes with the blood-soaked territory. While in the father-son sequences he manages to create a scale and range that merge rugged machismo with a junk food version of patriotism, the love story featuring the nomadic warrior and the bereft princess from the enemy tribe is driven into a zero-chemistry zone by the pair.
Forget mutual passion, there’s very little drama or romance in the dialogues and the visual props for them to share.
“Veer” gets details of the period and locations in place. But the inner conviction and a genuine passion that made Anil Sharma’s “Gadar: Ek Prem Katha” so special are completely absent in this film.
Kedi Telugu Online Movie Download And Review
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Review:
Like a regular tale, the story starts with Ramesh as Rummy (Nagarjuna) who is friend of Janaki since childhood and friendship is changed in one side love by Rummy. Janaki tells him that unless he becomes a big person in the society and a rich man, she will not be ready to marry him. It is taken seriously, and Rummy gets into gambling. Very soon he becomes a very healthy person. But then he nails those people who became rich by wrong route and wins them in the gambling. ACP Sekhar (Sayaji) comes to know and does best to catch Rummy but does not get success. The story takes turn when Rummy gets into a deal with Chandra (ankur) and at that time Sara (Paula)’s life is saved by him whose sister Nadia (Linda) falls in love with him. There is also Sandhya (Mamatha) who is Rummy’s aide in all his activities.
The audio did not make good sales in the market due to it was quite bad. The movie is released on “Annapurna Studios Banner”. The comedy king of Telugu film industry Dr. Brahmanandam also played a role in Kedi, a crucial role is played by Kelly Dorge in Kedi.
As director Kiran makes his debut with this movie. This movie under the banner of ‘Kamakshi Kala Movies’ has been produced by Siva Prasad. ‘Muddante Cheda’ the hit song of ANR has been remixed in this film. Chinni Charan and Krishna Chaitanya pen the lyrics. The voice for the musical tracks has been landed by Sunidhi Chauhan, Archith, Sonu Kakkar, Rahul Nambiar, Geetha Madhuri, Neha Kakkad, Salim Shahzada, Sandeep Chowta, Tippu singers.
Kedi has obtained its U/A certificate. The movie looks as if it is stimulated by ‘Catch me if you can’ conspire with scenery changed to cars stealing and gambling. In production from first, the film went through a series of name changes; it was named 23 then Rummy! From Rummy to Mayagadu to Mosagadu’, and lastly the producers agreed on the title Kedi.
Toh Baat Pakki Hindi Online Movie Download And Review 2010
Watch Toh Baat Pakki Hindi Online Movie And Download 2010
Review:
Film: “Toh Baat Pakki”
Cast: Tabu, Ayub Khan, Vatsal Seth, Sharman Joshi
Director: Kedar Shindre
Rating: 1star
It’s “Click” that’s meant to be this week’s horror flick. But “Toh Baat Pakki” is a bigger horror than anything in any recent weeks. And to think that the divine Tabu stars in it makes the blood boil.
On paper, the idea of playing the busybody housewife Rajeshwari, who seems to have only one mission in life, namely to see her sister (newcomer Yuvika) married off, must have sounded like an exciting new character to explore for the brilliant actress. Alas, Tabu had not bargained for the mundane situations and the pedestrian dialogues that her character has been put into.
“Toh Baat Pakki” is one of those tragic comedies that don’t elicit a hint of humour. The plot is intrinsically bereft of ingenuity and the direction is strained most of the way.
Among the many problems that plague the plot is the lack of inherent drama in Tabu’s character. Her character has no inner life, no motivating emotions except hatching silly match-making schemes for her giddy-headed sister. She first invites Sharman into her home as a tenant…And then Vatsal.
Tabu plays the annoying, part-schemer, part-dreamer housewife. Unlike the shrew that Sridevi played with full-blooded passion in “Judaai”, Tabu’s Rajeshwari is a woman caught in annoying confusions of self-assertion. And she’s not to blame.
The lingering condition of a hangover mixed with yesterday’s leftovers stays with the film right till the bustling conclusion when all of Rajeshwari’s match-making manipulation come to fatuous fruition.
“Toh Baat Pakki” tries hard to be charming and quaint. But it lacks that lightness of weight that would have made the characters appear larger than life in an unstrained atmosphere.
A pity, since the ethereal Tabu is hardly seen in any film. She tries bravely to get out of her dramatic space to deliver a broad satirical performance that screams for behind-the-scenes fine-tuning.
She gets no support from her co-stars except maybe Ayub Khan who, as her supportive husband, plays a thankless part with warmth. Sharman Joshi as Tabu’s sister’s first suitor has done the goofy act lately in “3 Idiots”. Here he has nothing new or appealing to add to his uninspired character.
Vatsal Seth, as suitor No.2, gives his clean-cut, good-boy role a genial treatment. The second half, where Sharman pretends to be the bride-to-be’s well-wisher and tries to influence Vatsal against the marital alliance, is suspiciously similar to Yash Chopra’s “Mere Yaar Ki Shaadi Hai”.
While the older film had some derivative energy to sustain its silly romantic movement, “Toh Baat Pakki” is as inert at its centre as a clock that stopped ticking while you were sleeping.
Avoid the film even if you are a diehard Tabu fan. In fact, please avoid it if you are a Tabu fan.
Click Hindi Online Movie Download free And Review
Watch Click Hindi Online Movie Download
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Review:
Film: “Click”
Cast: Shreyas Talpade, Sadaa Sayed, Sneha Ullal
Director: Sangeeth Sivan
Rating: 2star
If you can accept Shreyas Talpade as a womanizing glamorous photographer who clicks with the ladies, so to speak, and Sneha Ullal, then the underlining theme of love-on-the-prowl in afterlife is chilling in spurts.
Director Sangeeth Sivan, who had earlier carved a comic slant for himself with “Kyaa Kool Hain Hum”, displays a penchant for projecting a mood of ominous foreboding into the finely lit frames.
The camera (T. Ramji) is impeccably mood-oriented. The idyllic Goa outdoors and the neat spacious artistically designed interiors are used intelligently to create a sense of horrific disorder under the commodious elegant surfaces.
Sandeep Chowta’s reined-in background score is another asset to the mood of underlying foreboding, though the songs, done as annoying set pieces with autopilot choreography, are like molar surgery in the middle of a trying day.
The sound design mercifully precludes startling noises and creaking doors. Like Ram Gopal Varma’s “Bhoot”, “Click” focuses on finding the centre of the terror in ordinary circumstances.
If only portions of the plot was not so hard to digest. Moving on an age-old premise for horror cinema where the protagonist’s past trespasses catch up with him in chilling infinity, “Click” creates a melange of intended terror and unintended humour.
Talpade (somewhat miscast) is the not-so-fashionable fashion photographer whose camera begins to capture spirits.
The feeling of something-out-there is well-developed. But the gruesome pre-denouement gang rape and murder are not just out of place but done with unpardonable half-heartedness.
Some of the hero’s trysts with the spook, such as the sequence where he climbs down a fire escape with the spirit in hot pursuit, are spine-chilling. The dying moments where Avi’s past guilt literally rides on his shoulder and apparently for the rest of his life, are a terrifying representation of guilt, though the rest of the film is too flighty to carry the existential burden.
While Shreyas is effective in the traumatized moments, his two co-stars are listless. Blessedly this shiver giver seems original.
And we can’t fault the film for cracking the horror genre with a basic amount of finesse.
My Name Is Khan Hindi Online Movie Download 2010 And Review
Watch My Name Is Khan Hindi Online Movie 2010 And Download:
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Review:
Film:
“My Name Is Khan”
Director:
Karan Johar
Cast:
Shahrukh Khan…… Rizwan Khan
Kajol…… Mandira Khan
Soniya Jehan…… Rizwan’s Sister
Jimmy Shergill…… Rizwan’s Brother
Zarina Wahab…… Rizwan’s Mother
Rating:
3.5star
Questions of religious and national identity, of the sense of right and wrong, of combating a certain isolation that comes with a behavioural disorder. But what triumphs over all the complexities unfolding in a tumultuous post 9/11 America is Rizwan Khan and his essential goodness that tells you unwaveringly – his name is Khan and he is not a terrorist.
Director Karan Johar is in unfamiliar territory here. No candyfloss romance, no sweet nothings, nobody breaking into song. Just the super intelligent Rizwan, who has Asperger’s Syndrome, a form of autism, his halting voice with his inability to communicate, and his many relationships – with his mother, his brother, and yes, Mandira, and her son Sam.
Move over Rahul, Rizwan is here. Shah Rukh makes the transition from the eternal romantic to the intense Rizwan who finds love and loses it some years later when his Khan identity becomes all important in a tense, suspicious America. You sit through three hours waiting to get a glimpse of Shah Rukh through Rizwan Khan, but it doesn’t happen.
If Shah Rukh lives and breathes Rizwan in what is one of his finest roles, Kajol as Mandira, the vivacious single mother, is also good – as always. The chemistry between them if not always crackling, then heartwarming.
It’s an unlikely romance, not very easy to portray. But it’s dealt with a light touch. There they are sitting on either side of the bed after their wedding with Mandira telling Rizwan, who doesn’t like to be hugged, that this is something they can’t do without touching. It’s a scene that could quite easily have gone wrong, but it doesn’t.
All credit to Karan Johar for that.
Like a piece of music that gradually rises to grand crescendo, “My Name Is Khan” begins with Rizwan as a child with his mother – so good to see Zarina Wahab after such a long time – in a tenement in Mumbai and ends with cheers from the US’ first African American president in a crowded rally.
It’s from his mother that Rizwan learns his first lessons of humanity; as the 1983 Mumbai riots rage outside, she tells the young boy that the world is divided into good people and bad people.
It is this essential humanism that carries Rizwan through from Mumbai to San Francisco where his brother stays, then to the suburb of Banville where he moves in with Mandira and Sam, and even when he is taken to be a terror suspect.
Sam, his “only best friend”, is subjected to a vicious race attack because he takes on Rizwan’s surname. Mandira hits back, saying that the worst thing she could have done was marry a Khan and Rizwan is out on the roads – unable to articulate his feelings but backpacking his way across the US to meet “president sahib” so he can tell him: “My name is Khan and I am not a terrorist.”
It is a road journey through a troubled post 9/11 America towards humanism and the essential goodness of the human spirit.
This is a US where chanting the name of Allah gets you into trouble, where the word terrorist and Khan in conjunction can put you behind bars. Rizwan moves from being a terror suspect to a nationwide hero who exposes a terror mastermind. And then, the man with the mission who travels to Wilhelmina that is literally drowning in a hurricane to supervise a heroic rescue mission.
There’s Afghanistan and Iraq, Bush and Obama too. The US’ first African American president is voted in and, in that final feel good moment Rizwan meets him in front of thousands of people and his goodness is validated.
Plenty of great one liners. When he is refused entry into a presidential fundraiser for the poor in Africa that is only for Christians, he leaves behind $500 saying: “This if for those who are not Christians in Africa.”
The music by Shankar Ehsaan Loy is superb. This is not a film without flaws, it is at least 20 minutes too long for one and flags in the pre-interval period, but here is one straight from the heart. It has a message, in these days of tensions over language and religion, one which needs to be heard.
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