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Lakshya Hindi Online Movie Full And Review

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Review:
RATING: 3/5

In the crop of young directors, Farhaan Akhtar is one who has the skill to infuse realistic elements into a film without compromising on the entertainment value. His first film Dil Chahta Hai introduced him as an effective storyteller and his Lakshya consolidates his position as a crafted filmmaker.

In Farhaan's own words, Lakshya is not about Kargil war. But it is a movie about a wayward young man finding direction and sense of purpose to his life. The movie's story deals with the 'maturing' of a confused son of an affluent businessman into a man with clear aim in life.

Life for Karan Shergill [Hrithik Roshan] is nothing more than drifting in the wind. An easygoing guy with a non-serious attitude towards everything, Karan has no decisive aim in his life. Even his stern father (Boman Irani) does not expect much from him.

Karan and Romi Dutta (Preity Zinta) have been buddies since childhood. Now they very much look forward to be life companions. But Karan has yet to become self-dependent and choose a direction to his life.

Without much pre-thought Karan joins the armed forces and goes for strict physical and mental training at the Indian Military Academy, Dehradun. But the grueling training sessions at the academy make him rethink his decision. He flees and returns home where he is scolded both by his father and beloved Romi. Differences in the opinion separate Karan and Romi.

After much contemplation and introspection Karan decides to go back to the academy. But he is a different man going this time. This time he is determined to become the best soldier.

Time passes. Karan graduates from the academy and in the meantime Romi becomes a television journalist. When the two meet after years of gap, the shadow of war is looming on the borders of the country. And Karan, a key officer now, has only one aim clearly set before him - to fight for his country.

Unlike other war movies of Bollywood, Farhaan Akhtar has made Lakshya quite intelligently. In the first half of the movie he has focused on the angst of a young man, his directionless life, his gradual maturing, his grilling training at the Academy and his metamorphoses into a soldier. And in the second half the story moves into the battlefield, into the bunkers and shows the realities of war, the loss of lives and the triumph of the human spirit.

From start to the end Lakshya is evenly strewn with gripping sequences. Hrithik's training at the academy in the first half keeps viewers glued to the screen. There is no doubt that many young viewers will easily relate to the indecisiveness of his character in this half. In the second half, the tempo builds up slowly and reaches a crescendo just before the climax when Hrithik and his company of soldiers climb a steep cliff to shock the intruders from the enemy territory.

Performances by both Hrithik and Preity are simply outstanding. The conviction with which Hrithik brings about the transformation of confused youngster into a responsible and mature man in his character is praiseworthy.

Amitabh Bachchan looks a bit oddly cast in role of a field commander on the battlefront. But his Maharashtraian accent will certainly charm many viewers.

The dialogues in the movie are impactful without being over-dramatic. Writer Javed Akhtar, Farhaan's father, deserves full credit for a gripping and believable story. On the other hand, music by Shankar-Ehsaan-Loy is reminiscent of many famous tunes from the west. The trio composers are certainly not original in their compositions.

In a nutshell, Lakshya has all the ingredients of a likeable movie. It is technically sound, visually striking and is based on a story, which is very much rooted in the reality.

Hello! Hum Lallan Bol Rahe Hain (2010) Hindi Online Movie Full And Review

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Review:
Hello! Hum Lallan Bol Rahe Hain is a forthcoming film starring Rajpal Yadav and Preeti Mehra in the lead roles. Produced by Nazim Rizvi and directed by Dileep Shukla, and will release under the banner of Emaar Film International Unit and Whispering Shadows Entertainment.
Cast

* Rajpal Yadav...... Lallan
* Preeti Mehra...... Saroja

* Manoj Joshi

* Ketaki Dave...... Gujarati Lady

* Ravi Jhankal

* Bomi Dotiwala

* Makrand Anaspure...... Ganesh
Music

Music is bieng composed by Surendra Sodhi Vijay Verma

Maya Bazar Colour Telugu Online Movie Full And Download Full With Review

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Review:
Movie Review : Mayabazar (Color)
Rating : 5/5
Banner : Goldstone
Cast : NTR, SVR, Savitri, Akkineni, Gummadi, Relangi, Ramana Reddy, Vangara, Allu Ramalingaiah, Chaya Devi, Suryakantham, Sandhya, Mukkamala, R Nageswara Rao, Chadalavada, Nalla Ramamurthy, Balakrishna, Nagabhushanam, Mikkilineni, Madhavapeddi, master Anand, master Babji, Rushyendra Mani, Chaya, Parvathi, Seetha, Rajarathnam, Rajani, Mohana, baby Saraswathi and Others
Music : Ghantasala
Cinematography : Marcus Baitley
Producer: Goldstone
Director: K V Reddy
Released Date: January 30, 2010
Story:
A legendary tale of Mahabharata, the episode is about the romance between Abhimanyu (ANR), son of Arjuna and Sasirekha (savitri), daughter of Balarama (gummadi). Since the Pandavas don't have any wealth as they lost it all in gamble, Sakuni (csr) hatches a plan to get Duryodhana's (mukkamala) son Lakshman Kumar (relangi) engaged to Sasirekha. Noticing this, Lord Krishna (NTR) enters the scene and he devises a counter plan. He takes the help of Ghatothkatch (svr), son of Bheema to thwart the plan of Sakuni. Ghatothkatch possesses many magical powers and what follows from there is a roller coaster ride of humor and magic and whether Krishna or Sakuni is successful forms the rest of the story.
Presentation:
The director has come up with an interesting storyline and both the presentation and narrative were exemplary. The dialogues were mind blowing, the script was flawless, the screenplay was masterly. Background score was intoxicating while all the ten songs or more were fabulous. Cinematography was to the mark and editing was crisp. Costumes were divine and art department was out of the world. The film goes to a supreme league with remarkable performances from NTR, ANR, Gummadi and others but the real show stealers were Savitri and SVR who leave an everlasting impact on the audience. The others though in small roles made their presence felt in a big way.
Conclusion:
The film comes in topic after 53 years since it has now been brought to the audience in color. The best part is the coloration of this black and white epic and there is not an inch of doubt you would get watching it. Each and every frame has been worked meticulously and even the smallest of objects are smeared with the right quantity of color giving it the right feel. The entire pace of the movie strikes a chord with the audience and it is not just the legends on the screen but the visual appeal that has given a new life to the entire product. This is a must watch for all ages and it has already proved its mettle at the box office.

My Friend Ganesh 3 Hindi Online Movie Full And Review

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Rating: ***

My friend Ganesha-3 does a good job of mixing mythological ingredients with modern elements to give out the message of believing in oneself with faith in providence.
Cast: Rahul Pendkalkar, Eva Grover, Baba Sehgal, Sayaji Shinde, Makrand Anaspure, Himani Shivpuri and Mushtaque Khan

Director: Rajiv S Ruia

My friend Ganesha – Naughty Niceness

In the third of the series of Ganesha movies, we have Ganya (Rahul Pendkalkar), an orphan left at the mercy of his uncle Naagesh (Sayaji Shinde) and aunt Chandramukhi (Himani Shivpuri). They aren't kind to him and in fact the only reason they are even keeping him with them is because he is the heir to lots of financial goodies. So when he runs away they are pretty uptight about their 'wealth' slipping away.

Ganya runs away and hides inside the jolly Shamsher's lorry. Shamsher, afraid of the liabilities that a kid brings along drops Ganya off at a Ganesh temple where as luck would have Gangu Tai wife of Shamsher and a bubbly female who longs to have a child takes him home.

But Ganya is soon found out by Bala (Makrand Anaspure, the pesky little brother of Chandramukhi, and taken to the Haveli where endless hours of being behind locked doors and serving his uncle and aunt are in store. Ganya is heartbroken and as taught by his surrogate mom Gangu Tai, prays to lord Ganesha to take him back to his 'Aai'. Lord Ganesha is impressed and appears to him. He frees him from the locked room and helps him go to his Aai's home.

However back at the Haveli we have another Ganesh (courtesy the miracle of lord ganesha), who also happens to be lookalike of Ganya, wreaking havoc and chaos. He is making everyone dance to his tunes. However, this is not enough to drive away the evil aunt and uncle. It takes a proper Bollywood 'ishtyle' fight complete with bamboo sticks for them to finally get the message. We have a happy ending when Ganya ends up with Gangu Tai and Shamsher with the grand Haveli all for themselves!

Yay…

The clean cut entertainment value of the film can be quoted as its USP. The Tom and Jerry kind of antics are adorable!

The color scheme of the film is bright. Perfect for kiddos at whom the film is aimed.

Ever heard a Ganpati bhajan with a bhangda twist? You'll catch it on this one.

All of the actors, especially the kid Rahul Pendkalkar, have done a splendid job!

Yawn…

My friends Ganesh-3 is being touted as an animation film. However, there's not much of it in the film. And whatever is there lacks luster and is amateurish.

The story seems to be a reverse of Cinderella with the evil twin angle tossed in…

Yes or no?
The film is a lot of fun, laughter and entertainment. Something the entire family can enjoy.

Shaapit Hindi Online Movie Full And Review

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Review:

Film: “Shaapit”

Cast: Aditya Narayan, Shweta Agarwal, Rahul Dev, Natasha Sinha

Director: Vikram Bhatt

Rating:

There are good spirits and bad spirits waltzing all over the place. All we have to do is reach into the past and pull out the relevant ghoul, and we are into the realm of the spooky cool.

Vikram Bhatt’s “Shaapit” has a certain coherence and clarity generally denied to the horror genre. Bhatt, a past master at creating the shiver, treats the material on hand with affection and respect.

“Shaapit” is one of those rare horror thrillers which are not designed simply to scare the yell out of viewers. The research on spirits and ghosts that underlines the story of a boy in love and his effort to liberate his object of adoration from a 300-year-old family curse includes scholarly interpretations of witchcraft, sorcery and other spiritual know-how.

While this knowledgability is an advantage, it also dampens the spirit. While on the one hand, you appreciate the trouble taken to transport the horror genre beyond pedestrian scares, the effort to enthrust an academic dimension to the terror often hampers the free flow of the fear.

“Shaapit” has a climax when Aditya Narayan submerges in the ashes of an evil spirit (played by the articulate Natasha Sinha) who tries to stop him every ‘witch’ way.

The flying objects in this case are not members of the audience trying to find a way out. There are moments in the plot, shot with the compelling and persuasive genre-defining enjoyment.

Pravin Bhatt’s cinematography exudes an enchanting expertise. The film is shot in accentuated orange, yellow, black and grey hues that create a feeling of hushed expectancy and tentative beauty.

The narrative is energised by a rush of riveting episodes all meant to create a spiral of suspenseful segments in the ongoing spook-opera known as “How To Save Your Beloved From Evil Spirits”.

Aditya Narayan looks a little too raw and inexperienced to do a rescue the damsel in distress. He has a screen presence which could be better cultivated. He has good support from a friend (Shubh Joshi) and Rahul Dev playing a occultist academician.

New girl Shweta Agarwal would have made a better impact with less makeup.

Vikram Bhatt, always a neat, compact and straightforward storyteller, moves in two time zones. The art and decor for the sequences of palace intrigue 300 years ago suggest more papiermache than authenticity.

But the film is well-mounted and packaged with sincerity. Yup, the ghoul can be quite cool.

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Love Sex Aur Dhokha Hindi Online Movie 2010 Full And Review

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Review:
Film: “Love Sex Aur Dhokha”
Cast: Anshuman Jha, Shruti, Raj Kumar Yadav, Neha Chauhan, Arya Devdutta, Herry Tangri, Amit Sial
Director: Dibakar Banerjee
Rating: 3star

The million dollar question making the rounds is – Does “Love Sex Aur Dhokha” have a story?’ The answer is yes. In fact, there are three stories, each of them being shown in episodic manner with ‘Love’, ‘Sex’ and ‘Dhokha’ being the plot drivers for the respective tales.

Do they work? Yes, they do though it is apparent that there are ups and downs in the pace of these stories. While each of these stories starts with a bang and has a valid culmination, there is a slight dip that comes in occasionally and makes you pine for some faster movement.

So there is a young couple who fall in love during the shooting of a diploma film, get married secretly and then face the wrath of their family. Since the film is set in a filmmaking school, the presence of a camera right through this story does come across as quite valid.

The second story is about an unemployed young man stationed at a retail shop who takes advantage of a naive girl by capturing their lovemaking moments through a security camera. The third story is about a sting operation where an aspiring dancer gets back on a superstar by capturing the entire casting couch proposal on film. Both these stories have seen quite a few predecessors in real life.

Does the film work with disjointed episodes like this? Certainly yes, if one is willing to drop all preconceived notions about how a feature film should look. This is why after 15 minutes, one has to get used to a shaking camera, sync sound, leading to quite a few audio disturbances and random frame capturing.

However, one does feel that treatment like this comes with its own limitations. Since the film is about how a camera follows the lives of people in every nook and corner, the narrative has to be real and there cannot be any dramatisation of an event.

Nevertheless, this very limitation also works as a strength for Banerjee. Whether it is body language, intimate moments or the framing of a scene, done excellently by Nikos Andritsakis, everything is captured ‘as-is’.

Also, be warned that the foul language in the film is as explicit as it gets. Never before in a Hindi film has one heard the kind of cuss words that one hears in “Love Sex Aur Dhokha”. Again, quite justified since this is the first film that truly fits into the bracket of ’slice of life’.

“Love Sex Aur Dhokha” couldn’t have been what it is without the effort of its cast. Everyone – Anshuman Jha (Rahul), Shruti (Shruti), Raj Kumar Yadav (Adarsh), Neha Chauhan (Rashmi), Arya Devdutta (Naina), Herry Tangri (Loki Local) to Amit Sial (Prabhat) – everyone is superb.

“Love Sex Aur Dhokha” has one factor which completely works for it – its genre which is unconventional, unprecedented and unheard of.

This is a kind of film where a filmmaker can afford to play around without worrying much about universal acceptance. That’s exactly the route that “Love Sex Aur Dhokha” takes as it is made for a very niche audience that wants something non-Bollywood.

Rambabu Gadi Pellam 2010 Telugu Online Movie Full And Review

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Review:
It can be very hard indeed to go about life being referred to as Rambabu Gadi Pellam instead of your real name. The parents of Rambabu Gadi Pellam (Gajala) anticipate this right at her birth, and so name her Rambabu Gadi Pellam itself, so people don't have to refer to her as Rambabu Gadi Pellam but can actually call her Rambabu Gadi Pellam.

And - this is not easy for us to say - the opening titles of Rambabu Gadi Pellam, the film, have just started rolling.

Then on, the number of times you laugh depends on your faith in the Telugu film comedy industry and what it takes for you to sit through an entire film thinking how funny it is just to have Allari Naresh on screen.

The story is about how Rambabu (Allari Naresh) suppresses his carnal urges throughout life. It's a difficult task, for several reasons. Firstly, at office he's surrounded by a sleazy bunch of much-married colleagues (Venu Madhav, Ali, M S Narayana, Chinna) who poke fun at him because he doesn't take part in their sleazy extra-curricular activities, namely placing orders for women on the weekends.

Secondly, Rambabu is surrounded by nymphomaniacs of quite a few types, including his neighbours and his maradalu Rambabu Gadi Pellam. Thirdly, he's falling in love with a girl (Sonali Joshi) who fell in love with him because he didn't leer at her.

And then, when he gets himself transferred to someplace else to escape his cousin, he falls into the trap of the ultimate nympho of them all – the boss' girlfriend (Jyothi), who takes him home on some pretext, seats him outside her bedroom, wraps a towel round her waist, removes her panty and tosses it “accidentally� in front of him, goes to a bathroom to bathe, and asks him to get her her lingerie that's lying on her bed.

It's a terrible idea to enter the movie if you're a woman or a kid, or even anything else for that matter. However, if you're in the mood for some irresponsible chuckles, Rambabu Gadi Pellam might just entertain you. Quite a few bawdy jokes abound and it's a largely miserably formless script, but some of the humour makes it a couple of notches superior to being downright disastrous, making it worthy of a 2.5 rating overall.

Allari Naresh could even file a sexual harassment case against the makers of this movie. He's done well, though - wearing just one helpless and frustrated expression throughout the movie, which tickles you endlessly. The galaxy of comedians also does a decent job of adding weight to the jokes. And except for Gajala and Sonali Joshi, the other women are black holes of talent.

The flick seems to have been in the cans for at least 5 years, going by the ages of some of the characters. The visuals are shoddy, but the music surprises sometimes, making you wonder how on earth they managed to rope in Hariharan and Chitra for the songs.

You can perhaps watch Rambabu Gadi Pellam, but only if you're sure no one's looking.

Sadhyam Telugu Online Movie Full and Review 2010

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When was the last time you left the theatre on a cheerful note? A fledgling director unleashes his creativity on an unsuspecting audience and his experiment with a tame subject makes you beg for an insurance cover. And about the story it is not that simple as the title. It is just impossible. In an age when even babies don’t get scared, the heroine Suhani (Priyamani) trembles at the drop of a paper weight. But the same fear is missing when she loses her virginity..ofcourse before her marriage. With a hair style that reminds one of a pony’s tail, Priyamani is at her clumsiest best. She shivers throughout the film but her eyes hardly well up and she forgets to emote when her parents are killed.

The lady has been used by her friend and her colleagues exploit her but if you are thinking Jagapati Babu is going to come into her life and make her strong then you are wrong. He comes and falls in love with her, he has a polished look, owns a company and then behaves like a rowdi, and then it’s revealed he’s got an enviable job of a undercover cop? A cop in civil clothes and a can of coke go hand in hand. If that reminds you of a film, don’t blame the director. We aren’t telling you the story because we didn’t understand it. There are too many plots and each one lacks a connection, the screenplay is tardy and the characters look aimless.

If we try hard to understand why this film was made they could be two reasons, one the director wanted to capitalize on Jagapati Babu-Priyamani chemistry. Next he had a subject about a weak-hearted woman who has been given a chance to kill a person whom she hates most within some hours and eventually uses the weapon against the man who gave her the chance. The first few scenes make us feel that something interesting could come up soon but the story goes slow, drags and stretches like a bubble gum. Just to make the heroine tell her mother she wants to have a cup of coffee, there are hazaar other scenes building up as a prelude.

An utter waste of time and money, Sadhyam hands over a positive message. That if you have a hidden talent of writing or narrating a story, do it now and go look out for your favourite actors. If accomplished actors like Jagapati Babu, Priyamani and Kota Srinivasa Rao can trust a story such as this, then anything and everything is Sadhyam.

Cast & Crew:

Cast: Jagapati Babu, Priyamani, Keerthi Chawla, Jackie, Kota Srinivasa Rao, Tanikella Bharani and others

Banner: Kumar Brothers Cinema

Cinematography: Maaro Palani

Music: Chinni Charan

Producer(s): D. Ratnakumar, D. Karnakar, D. Suresh Babu

Director: Kartikeya Gopalakrishna

Road Hindi Online Movie 2010 And Review

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Review:

3 stars

In a Ram Gopal Varma film, the only predictable factor is the unpredictable.

Like the barren sand-swept highway on which Road's" lovebirds Vivek Oberoi and Antara Mali take off for a runaway marriage, one never knows what lies ahead.

Director Rajat Mukherjee takes viewers for a ride that one isn't likely to forget in a hurry. He sweeps one into the vortex of disturbingly implosive violence on a lonely and stark highway in Rajasthan.

As the defiant lovers Laxmi (Antara Mali) and Arvind (Vivek Oberoi) zip off to the accompaniment of screaming wheels and wailing guitars, one sits up in anticipation.

The what-next feeling never goes away as the lead pair's life on the road gets overtaken by a very normal-seeming stranger Babu (Manoj Bajpai) who thumbs a ride from Arvind and Laxmi and then takes them through a traumatic maze of adventures.

The film uses the barren landscape to great advantage. There's no assuaging greenery, just virile rust and brown frames.

First-time cinematographer Sudeep Chatterjee shoots the hinterland with stark grace. The bleak beauty of the frames echoes the incendiary tensions of the Spaghetti Westerns of Sergio Leone.

The three characters trapped in a lethal game of catch-me-if-you-can blend into the scenario with effortlessness. In most Hindi mainstream films, the principal players stand a little apart from the landscape in a glamorous enclave. In Road, the actors seem to fully belong to the world that they inhabit.

It's a bleak and barren world punctuated by unexpected spurts of humour.

Theatre actor Makarand Deshpande (who did the narration in Varma's Company) is a mass of bewildered synergy playing a truck driver fascinated by Sunny Deol in Gadar. Through such characters, Varma's cinema constantly draws attention to and deflects from formulistic conventions.

The most interesting incidental character is Rajpal Yadav who plays a film-fixated petrol pump attendant. After Manoj roughs him up, he vows never to watch director Sanjay Leela Bhansali's films again.

The theme of The Intruder recurs in Ram Gopal Varma's cinema. The film's deceptively casual mode of operation adds to its implosive tension.

Manoj as the intruder Babu is more controlled and in charge of his character's karma than ever before. Very little is said about the character's antecedents except when he begins to open up before his captive. When Babu confides in Laxmi, she exudes a certain raw energy that goes against every rule of coy conduct observed by the Hindi film heroine.

However, Mali is made to get into skimpy linen and slither and slide in rites of sensuality for a remarkably superfluous song. Such an embarrassing contradiction could have been avoided. Numbers like model Koina Mitra's sweaty and upfront Nikal le Bhaiyye arrest the fast moving narrative in its tracks and remind one that commercial Hindi cinema can never truly change its spots.

The film's most unforgivable aberration is Manoj's dream sequence where the director lampoons Hindi cinema's heaving bosom-gyrating pelvis routine.

Also, Sandesh Shandilya's aggressive music score should have been tempered severely as it often gets in the way of dialogues.

The almost total disregard for convention is mapped in the no-holds-barred aggression projected in Manoj and Antara's performances.

Vivek, in a thanklessly "heroic" role, is far more subdued. Road gives him an opportunity to move away from his debut role in Company to portray a state-of-the-art leading man with intelligence, subtlety and humour.

His romantic sequences with his co-star are agile and vibrant. Especially memorable is the sequence after Manoj's first attempt to kidnap Antara where the couple in their car discuss the intruder with ironic humour.

Road warns us to "Drive Carefully". That's advice Varma has never listened to in his career.

He has a particularly adventurous crew with him in this roller-coaster ride through Rajasthan. Thou

Aakasha Ramanna Telugu Online Movie Full 2010 And Review

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How low does Aakasa Ramanna go? Somehow, the answer doesn't depend on what you think of an entire sub-plot dedicated to how Venumadhav's character loses his key reproductive part to a road accident and how it is found by his friends later on.

Reported to be a rip-off of a Hollywood thriller 11:14, Aakasa Ramanna has an ambitious concept of weaving half a dozen stories and converging them to a single point in time. Unfortunately, it is executed with the expertise of a nail cutter trying to trim a hedge.

An Aakasa Ramanna narrates the story (and bears no other connection to the actual plot), speaking of how fate's punishments are pretty instant. There are these accidents one night that take place all at one instant. What transpired before that moment in multiple lives forms the story.

The characters in each of the sub-plots are all pretty amoral, if not evil. Rana (Allari Naresh) had walked out on the simple but annoying Tara (Meera Jasmine) to sleep with the hot and sly Isha (Gauri Pandit), who has now made a career out of blackmailing her multiple boyfriends.

Several others are part of this karma mesh. The inexplicably cheap Timothy (Venu Madhav) keeps telling his wife he'll never sleep with her and informs her he's heading out for a night with a hooker with his friends (Srinivas Reddy and Satyam Rajesh). Then, there is Rajeev Kanakala and his wig together playing a drunken party-goer who gets involved in a painful hit-and-run case.

The story is interesting enough to make you wonder how it will all be wrapped up. However, the levels of suspense and thrill are wishy-washy enough to make you want to fast-forward the flick to the end and see it all wrapped up.

And while it tries to be creative and novel, the glaring logical errors simply prevent you from taking it seriously. For example, Tara is shown as an attendant in a supermarket, but within minutes, it becomes a gift gallery, and a few minutes later, a coffee shop. Then, there is the issue of characters thinking aloud to explain the plot nuances – it furthers the silliness of the flick.

All the performances are quite good, except for the shrill Meera Jasmine, who takes the air-headed Tara to a whole new level of giddiness. But while Allari Naresh, Rajeev Kanakala and Sivaji pull it off well as the protagonists, Nagababu and Rao Ramesh make their own efforts look like, well, efforts.

The movie's budget is pretty low, and though the screenplay consists of the story jutting back and forth, the overall look is not sleek and trendy. As for the music, Chakri goes quite wrong, and the soundtrack jars you.

Aakasa Ramanna has its share of pluses, and if you're curious, you could watch it thrice - once in the beginning, once around the interval, and once in the end.

Na Ghar Ke Na Ghaat Ke Hindi Online MOvie Full 2010 And Review

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Review:
Cast: Rahul Aggarwal, Narayani Shastri, Om Puri
Direction: Rahul Aggarwal
Rating: *
Congress’s ‘aam aadmi’ (note: it’s never the ‘aam aurat’) tries as hard to enter the nation’s economic agenda as he does to slip in to our popular films.
This movie, that way, is a notable exception. A gentleman, with a feminine Devaki for a first name, introduces to the camera his village. The film starts off thus as a mockumentary. The protagonist talks to viewers directly. And then the film meanders into a regular narrative. It’s an irritatingly confused devise — you may check out the beginning of Manish Acharya’s hilarious Loins Of Punjab Presents, for reference.
The place here is called Palanhar, and for purposes of postal codes, even the hero isn’t sure if his home falls in Bihar, or Uttar Pradesh. The dialect, though inconsistent, could pass off for UP’s.
The meek gent of this hamlet shows his urban audiences a nether world that rural India is: “Ek gaon jo gaon rehne ke liye majboor hai: A village that is compelled to remain a village forever.” The essential flavour isn’t widely off the mark — mooing cows; low-voltage, crackling bulbs; houses in various states of decay; idyllic old men… Everyone here makes for the chattering classes over chai. Conversations mainly centre on weddings, and neighbours’ private lives.
Most young in these hinterlands look for an escape. Few find much work locally. The hero (director and actor Aggrawal — more competent as the latter) finds himself a clerk’s job in Mumbai’s Meteorological Department. He ferries himself, like millions others, into a gutter-like city that has no time to care, or stare. He rooms in with a ‘tapori’ road-side Romeo (Ravi Kissen; obnoxiously over-acting). The leading man is quite obviously beffudled by the sweat and insanity of urban life. Street patois comfound him as much: ‘khaali peeli’ (eating, sleeping?).
Devaki’s family visits him from the village. ‘Tapori’ takes them to couples’ cozy corners on Mumbai’s rocky seasides. The father (Om Puri) is appalled by public displays of affection. He calls it low “sabhyata” (civilisation). The dad’s just married his son off to a girl he’s not allowed to meet, let alone share sweet somethings with. This clash of cultures is for a film, a pertinent premise. The wife getting picked up by cops, mistaken for a ‘bar dancer’ — the entire picture thence — hardly counts for much of a plot.
Neither a probing satire nor a roaring laugh, neither fish nor fowl, I guess, it’s Na Ghar Ke Ghat Ke then. DVDs of Shyam Benegal’s box-office hit Welcome To Sajjanpur, I suppose, should be out by now. You must pick it up for the evening, if the backdrop delights you.

Right Yaa Wrong Hindi Online Movie Full And Review

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Review:
Starring: Sunny Deol, Irrfan Khan, Konkona Sen-Sharma, Esha Koppikar
Director: Neerraj Pathak
Rating: 3star

Don’t breathe. Don’t dare even blink. And please forget that visit to the loo. Damn, even the bag of popcorn will be forgotten on your clenched lap.

“Right Yaaa Wrong” is the surprise shocker of the year. If you’ve forgotten that jump-out-of-the-seat feeling then it’s time to nudge it awake again.

Debutant director Neerraj Pathak deserves a welcoming salute. He puts together a thriller that’s as much a homage to Alfred Hitchcock and Brian de Palma as our own Abbas-Mustan.

“And Right Yaaa Wrong” still emerges original and strong.

An intricate jigsaw that always stays a step ahead of the audience, “Right Yaaa Wrong” makes a penetrating comment on how the country’s legal system can be subverted by a clever hand. More importantly the taut and briskly-paced script suggests that the yin and yang concepts of right and wrong are not only ambivalent but also interchangeable when the context is right.

Sunny Deol, back in shape in every which way, plays a cop who in the first two reels loses the power to walk. But the narration simply sprints along through a series of unpredictable twists and turns that take the striking characters across a maze of intrigue and conspiracy.

Truly, the screenplay is far superior to its execution. And that’s entirely a comment on the above-average calibre of the writing.

Writers Girish Dhamija, Sanjay Puran Singh Chauhan and Neerraj Pathak pack in a walloping punch in both pre-and post-interval hours.

The characters and their motivations address themselves to adventure-thriller-suspense world of James Hadley Chase and Sidney Sheldon. The men are brave and heroic, clever and fearless. Even when cuckolded, Deol is dignified in the embrace of betrayal.

Editor Ashfaq Makrani juxtaposes moments of tense suspense with glimpses of heightened poignancy. This is murder in mellow shades.

The cop’s wife played by Esha Koppikar is unabashedly wanton. Outwardly she’s the duty-bound cop’s home-bound wife with a perfect home and cute son (Ali Haji). Scratch the surface and there emerges a woman who’s sleeping with the cop’s kid-brother. Ouch.

Shades of Bipasha from Abbas-Mustan’s Race? Yes? But don’t let this hectic whodunit’s antecedents bother you. The storytelling takes wings from the word go. And we are swept ahead. As the characters go from ‘bed’ to worse. However the people in Pathak’s pacy plot are so hurriedly propelled to their nemesis that we never get close enough to any of them to understand their inner world.

The depths are discarded for the dips and curves. The performances are even and well-informed. Sunny Deol in a role that requires him to sublimate his pain in a status of stoicism gets it just right. Irrfan creates ample space for himself in a role that’s sketchy for starters but gathers substance as the yarn progresses.

Konkona Sen Sharma as the stereotypical sympathetic shoulder gets rid of her set expressions and comes up with a performance of restrained bravura in the courtroom.

And Esha Koppikar plays the thankless role of the unfaithful wife and a disgraceful mother with much relish.

Here’s a film that extends the borders of morality. It does so in the commercial language without resorting to crass situations and dialogues. For fans of Sunny Deol’s fist-friendly image here’s the actor telling us that strength is sometimes a matter of holding back rather than letting it all hang out.

Watch Percy Jackson and the Olympians: The Lightning Thief Online Movie And Review

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Part 1:


Part 2:


Review:
As the film opens a gigantic man rises out of the sea and heads into the city (human size by then). He is of course, Poseidon (played by a rather thin looking Kevin McKidd). He meets with another fellow on the roof of the Empire State building who turns out to be Zeus (a somewhat miscast Sean Bean) – Zeus is accusing Poseidon’s son of being “the lightning thief.” It seems that someone has stolen Zeus’ favorite item – and if it is not returned within two weeks he will declare war among the gods.

Our soon-to-be hero Percy is played by 18 year old Logan Lerman (who does a fine job in the lead role). He looks younger and is a self-professed “loser” who pals around with his crippled friend Grover (Brandon T. Jackson). Percy has some major dyslexia (hallucinogenic, even) and the only time he finds peace is when he’s in the water – he loves sitting at the bottom of his school’s swimming pool… for seven minutes at a time.

He lives in a rough inner city neighborhood with his mom (Catherine Keener) and his grubby, rude and stinky stepfather (Joe Pantoliano). I love Joe, and he seemed to be in a different movie – bringing a greater depth to his character in the few moments he was on screen than most of the other actors did throughout the entire film. The man is good at what he does.

It seems that Hades (Steve Coogan) also believes that Percy has stolen Zeus’ lightning and he wants it so he can rule over all the gods himself. All manner of mythological creatures are sent after Percy and eventually he ends up in a training camp for demi-gods (children of god/mortal matings). There he meets Hermes’ son Luke (young Kevin Bacon lookalike Jake Abel) and Athena’s beautiful warrior-daughter Annabeth (Alexandra Daddario). Pierce Brosnan (as a Centaur… weird) tells Percy he must go to Zeus and explain that he is not the thief – but first (for some strange reason) he needs to train to hone his combat skills.

Well a situation arises that causes Percy to want to go to Hades instead of staying to train and head up to Olympus to talk to the big man, and Grover and Annabeth insist on tagging along. What we get then is basically a road trip
where they run into some interesting adventures where they run into yet more well-known mythological creatures – that were actually quite entertaining.

There were some scenes that were just scary enough for kids, but nothing that should keep them up at night. If you’re a parent, there was nothing that would give you pause when it comes to watching this with your children – very family friendly. There’s action throughout the film and the climax was pretty impressive.

Overall I actually found the film to be pretty good (for what it was) although it didn’t have the richness and depth that’s present in the Harry Potter films – then again, maybe in those films I’m just impressed by all the British accents… Kidding aside, there’s just a little something that’s missing here, similar to the feeling I get from watching the Narnia movies – just something that’s a little too shallow about them that doesn’t really hook you and drag you deep into the film.

Watch The Twilight Saga: New Moon Online Movie And Review

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Review:
t's been a few months since we last saw Bella Swan (Kristen Stewart) and her vampire paramour Edward (Robert Pattinson), and things are not as well as they might be. Though Edward still loves her in his icy way, Bella is having a miniature existential crisis at the thought of her 18th birthday, which means that she is older than Edward, which means that someday she will be a wrinkly grandma not up to his sparkly vampiric standard. Edward doesn't care so much about that, but he is concerned when his brother Jasper goes vampire wacko at Bella's tiny papercut, and before you can get used to the flashy new topaz contact lenses that Pattinson is sporting this time, Edward and his Cullen clan are out of Forks, Washington.

And that's when things really get going in New Moon, a follow-up to Twilight that manages both to stay true to the nature of the first film and also improve on it a bit. Director Chris Weitz sticks with the moody Pacific Northwest scenery and intense romance but also infuses a zippy, poppier sensibility, meaning the two-plus hours move along swiftly and with more humor than the first film. Plus there's a whole lot more going on here, dealing with first heartbreak and a potential new romance and the villains from the first movie, and oh yeah, that pack of handsome shirtless guys? They're werewolves.

Those who were horrified by Twilight's tweaking of vampire mythology won't quite know what to do with the wolfpack, introduced to Bella when her BFF Jacob (Taylor Lautner) discovers that, as a member of the Native American Quileute tribe, he turns into a hairy snarling beast whenever he gets angry. Jacob is the proverbial shoulder for Bella to cry on when Edward skips town, and even though Bella takes to putting her life in danger constantly for a glimpse of Edward's spirit to warn her away (no, I don't get it either), she's clearly warming up to Jacob and his rock-hard pecs as well. Jacob and his wolfy brethren-- none of whom ever wear shirts-- protect Bella from leftover evil vampire Victoria (Rachelle Lafevre), who appears so briefly hear that she'll clearly be exacting her revenge in the next movie. But when Edward mistakenly gets word that Bella has died, it's time to shrug off her hairy new friends and rush off to Italy, where there are some red-eyed vampire royals-- among them Michael Sheen and Dakota Fanning--anxious to get to know her.

Though it's what has earned the book series millions of fans, the romance scenes are the worst part of New Moon-- Pattinson and Stewart recite their lines to each other with dead expressions, and all the crazy, lusty energy of the first film has been replaced with a sense that the two can't wait to get away from each other. Luckily, they do, and Stewart and Lautner establish a much more relaxed, funnier rapport, albeit one that's so friendly you can't really believe Jacob as a romantic threat. Just as in the first film, the scenes with Bella's human high school friends-- including a sharp Anna Kendrick-- are highlights, and Billy Burke returns as Bella's warm and caring father, though perhaps a guy who should pay more attention and realize that his daughter is hanging out with the undead.

Really, all of the side characters are interesting and well-cast-- the problem is that we're stuck with draggy Bella at the center of it all. Though Stewart has improved a little since the first film, relying less on stammering and flipping her hair, she's still playing the most passive heroine in the history of time. Whether she's being dumped by the love of her life or witnessing a werewolf transformation, Bella never seems remotely interested in her surroundings, and not once does she take action to protect herself or those around her. Time after time one of Bella's supernatural friends jumps in to rescue her from some new threat. She's not just a boring heroine, but given her popularity among women of all ages, an actual setback for feminism.

Pattinson, in his brief scenes, matches Stewart in his lack of interest in the surroundings, which leaves Lautner to flash his smile, crack a joke, and steal a million teenage hearts. The film's best performance, though, goes to Fanning, who in about five lines and a dozen stony glares makes more of an impact than anyone else in the two films total. While Bella mopes around like a wet noodle, Fanning's Jane is a female character who actually bothers to do-- good or bad, we don't care, so long as it's interesting.

Handling the material with less instinct than Catherine Hardwicke, Weitz still makes the wise choice of employing a lot of moody pop music and montages to move things along, and his visual style is a massive improvement-- the sparkling skin of the vampires still isn't great, but at least it's not laughable now. The same can't be said for many elements of the movie-- the constantly shirtless werewolves, Jacob's insistence that being a wolf "isn't a lifestyle choice"-- but New Moon avoids slipping into self-parody by being a little less serious as well. It's impossible to have a truly light touch with the material-- Stephenie Meyer's writing prevents that entirely-- but Weitz's efforts result in a movie that's a little less insular and self-involved, though in the end, still probably one only the true fans could love.

Watch Alice in Wonderland Online MOvie And Review

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Review:
This quasi-sequel to the original Alice in Wonderland novel concerns a 20-year-old Alice (a terrifically low-key and deviously seductive Mia Wasikowska), on the precipice of accepting an unwanted engagement to a connected young-gentleman. At the moment of said proposal, Alice is distracted by a strange anthropomorphic rabbit that seems to be gaming for her attention. History repeats itself and Alice again tumbles down the rabbit hole into the magical world of ‘Underland’. But Underland is now a desolate, fire-scorched world ruled by the Red Queen (Helena Boham Carter). Alice does not remember her previous trip when she was a wee child, but apparently it is her destiny to return and make things right again. The characters she meets are certainly eye-catching. The White Rabbit (voiced by Michael Sheen) percolates with antic charm, and Tweedledum and Tweedledee (Matt Lucas) are fleshy twins. The Cheshire Cat, with electric blue stripes, is voiced by Stephen Fry in drolly amused dry-sherry tones. Then there’s Johnny Depp, who plays the Mad Hatter with multicoloured eyes, an exploding Bozo carrot top, and a gaze of luminous dementia. He’s a fantastic image, but once Depp opens his mouth, what comes out is a noisome Scottish twang that makes everything he says sound more or less the same. Depp’s counterpart in shrill sameness is Helena Bonham Carter. Unfortunately, Anne Hathaway is miscast as her sister, the White Queen, as her white hair and black eyebrows look weird and she’s not temperamentally suited to the role’s benign arrogance.

Tim Burton, with his crazy love for rabbit-hole alternative worlds (Beetlejuice), baroque oddballs (Batman, Edward Scissorhands), and kiddie fables told with a cynical wink (Charlie and the Chocolate Factory), would seem to be the perfect director to adapt Carroll’s legendary tale and make a memorable, zany-dark movie out of it. But Burton’s Disneyfied 3-D Alice in Wonderland, written by the girl-power specialist Linda Woolverton (Beauty and the Beast), is a strange brew indeed. It is murky, diffuse, and meandering, set not in a Wonderland that pops with demented life but in a world called Underland that’s like a joyless, bombed-out version of Wonderland. It looks like a CGI head trip gone post apocalyptic. In the film’s rather humdrum 3-D, the place doesn’t dazzle — it droops. The 3D conversion actually works best in the real-world prologue and epilogue, when it creates a genuinely immersive experience. But once the picture descends into fantasy, so much of what you see is so obviously fake, that you can’t believe your eyes no matter what dimensions the image is in.