Ullasamga Utsahamga Telugu Online Movie Full And Review

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Review:
Banner: Amrut Amarnadh Arts
Cast: Yashosagar, Sneha Ullal
Direction: A.Karunakaran
Production: B.P.Somu, G.S.Ranganath
Music: G.V.Prakash Kumar
Ullasamga.. Utsahamga.. - Karunakaran's magic fails to do wonder


The day Dil Raju announced that he is going to distribute the film 'Ullasamgaa… Utsahamgaa…' directed by Karunakaran, the expectations on the success of the movie went up, in view of his experience in judging the saleability of the flick. Moreover, the film came from a successful Kannada producer like BP Somu. Director Karunakaran who gave a blockbuster with Pawan Kalyan like 'Tholiprema' could not repeat the magic once again, while trying to promote the producer's son Yasho Sagar as hero. The storyline has not much new to talk about, but for the twists and gimmicks added by the director. Sneha Ullal's glamour and performance also went waste in the absence of mass masala elements in this love subject.

Dhanalakshmi (Sneha Ullal) is the lone daughter of a landlord who has over Rs 50 crore property. As she lost her mother in her childhood, her father marries another woman (Kavitha). However, Dhana faces neglect from her stepmother. After Dhana's father passes away, there is no one to console her and the only friend who showed affection was Balaji. He too leaves her after she completes her Class X. After Dhana grew up, she bequeaths her father's property and her mother eyes it and wanted to marry Dhana against her wishes. So Dhana escapes from house and takes shelter in her friend's house in Hyderabad. Aravind (Yasho Sagar), son of a mechanic, who moves like a vagabond with friends sans any responsibility. He comes across Dhana and loses his heart to her. However, after a few encounters, Dhana gets caught by her stepmother and when she was about take her away, Aravind helps her from the abduction with the help of police. This makes Dhana to befriend with Aravind and she reveals her childhood friendship and tells Aravind that she is in love with Balaji and can't imagine any other in his place. After refusal, Aravind decides to go to Kolkata in search of a job and at the same time, Dhana also comes to know that Balaji is in Kolkata. They both again meet in train and accidentally Dhana misses the train during the journey. So Aravind helps her reach Kolkata to meet her childhood friend Balaji. In the process, Aravind gets severely hurt in the hands of a criminal, who tries to implicate Dhana in a narcotics case. Later, Aravind takes Dhana to Balaji's house in Kolkata. Dhana's stepmother also reaches Kolkata and agrees for Dhana's marriage with Balaji. When the marriage was about to take place, Dhana realises that her stepmother enacted a drama and created a fake Balaji to impress Dhana. Again Aravind comes to her rescue and at that time Dhana realises that she was in love with Aravind and the film ends on a happy note with the success of love between Dhana and Aravind.

PERFORMANCE:


Yasho Sagar performed well to a certain extent, though he was a novice. Especially he showed good ease in dances. His facial expressions are fine but his body was a little rigid. Had he improved his histrionics and body language, he could be said as a promising artiste. Hopefully, he could improve his rigidness by his next film. Next comes Sneha Ullal. Though the hero is a debutant, the heroine is not a novice and already faced camera for a Bollywood film, opposite Salman Khan for 'Lucky'. All the other characters like Chandramohan, Kavita and LB Sriram did justice to their respective roles. However, some characters appeared doing a little overaction in the film. Especially, Sudha, Surekhavani and Satyakrishnan appeared a little overenthusiastic. Comedy by Brahmanandam, Suman Setty, Sunil and Venumadhav tickled the funny bone and evoked laughter from the audiences.

TECHNICAL:

The director failed to manage a good tempo all through the film. The entire first half was devoted to show the mischievous acts of the hero and to build the love and friendship between the hero and the heroine. It appears the director did not concentrate well on the screenplay as he lost grip on the script for several times in the entire first half and a considerable part in the second half. But for the scenes about 15 minutes after the interval and before the climax, the remaining part of the film appeared bored. However, the only solace is the music by GV Prakash Kumar, nephew of AR Rahman. All the songs are lilting, the costumes and the choreography of songs are worth watching. Camera work by Andrew is just okay while editing by Marthand K Venkatesh is adequate. But for a couple of unnecessary scenes, which escaped from the scissors of Marthand, on an overall basis it is okay. Chintapalli Ramana's dialogues are good in parts.

REMARKS:


The promos that were released and telecast in various private channels made the audiences to decide that the hero is promising. However, when it comes to the film, the hero appeared very rigid and the movement of the story is full of ebbs and tides. Moreover, the film doesn't have any kind of mass masala elements and were shot in a routine and old fashioned way. Unless the film gets a good mouth publicity, the survival of the film is in a limbo.

Cast: Yasho Sagar, Sneha Ullal, Chandramohan, Brahmanandam, Dharmavarapu Subrahmanyam, Sunil, Venumadhav, LB Sriram, Prasadbabu, Gauthamraju, Kavitha, Sudha, Satyakrishnan, Surekhavani, 'Allari' Subhashini, Sobharani, Apoorva and others

CREDITS: Dialogues – Chintapalli Ramana, Lyrics – Anant Sriram, Editing – Marthand K. Venkatesh, Camera – I Andrew, Music – GV Prakashkumar, Art – Chinna, Action – Vijay, Choreography – Kalyan, Producers – BP Somu and GS Ranganath, Story, screenplay and direction – A Karunakaran.

Banner: Amrit Amarnath Arts.

Released on: July 25, 2008

Kites Hindi Online Movie 2010 And Review

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Review:

Film: “Kites”

Cast: Hrithik Roshan, Barbara Mori, Kangana Ranaut, Kabir Bedi, Nick Brown

Director: Anurag Basu

Rating:

Music: Rajesh Roshan

Producer : Rakesh Roshan

Too many strings attached to this “Kites” that never soars to the heights it should and becomes a predictable tale of star-crossed lovers set in the glittering lights of Las Vegas and the brooding deserts of Mexico. It’s “Matchpoint”, “Bonny and Clyde” and much else rolled into one, failing to take off on its own.

The problem with “Kites” is that it is never truly its own film. The first half constantly takes you back to Woody Allen’s compelling “Matchpoint” with the doomed quartet of Jai (Hrithik), his girlfriend Gina (Kangana Ranaut), her brother Tony (Nick Brown) and his fiancée Natasha (Barbara).

Life is set to roll for the rakish, down and out Jai with Gina, the fabulously rich, hopelessly in love daughter of a Vegas casino owner, until he meets Natasha, the exotic Mexican immigrant also looking out for the good life. The attraction is inevitable – and fatal.

The pull is irresistible. Designer watches, flashy cars and jewels beckon but Jai and Natasha are caught in a relationship that transcends language. She knows no English and he knows no Spanish.

So far so good, before the script decides to meander into a “Bonny and Clyde” caper with the couple on the run from the powerful Tony robbing a bank. Completely unnecessary and giving no time for the intensity of the romance to develop.

The narrative moves back and forth in time, beginning with a bloodied Jai tumbling out of a train wagon and stumbling across the desertscape to look for his ladylove.

So you get a sense of what is in store. The predictability of the script is not really a problem – the opening line of the film lays the tenor, with Jai in a voiceover telling you that two kites flying together can never soar very high or very long because one has to get cut.

This is a chronicle of a tragedy foretold, much in the way of other epic romances. Dare I say Romeo Juliet!

It could have worked. The much talked about chemistry between the lead couple is in evidence, but not enough. Director Anurag Basu is at his best in the intimate scenes.

Like when Jai looks out of his window to see Natasha being roughed up by Tony and goes to comfort her. There are no words but the shadow play on the wall of their fingers intertwining is romance as it should be.

The soul of true love is there somewhere, but it gets lost in the two-hour film that also brings in murder, torture and gunmen galore. Basu seems lost in the larger macro frame of the film.

The two main characters are not fleshed out enough, and the others around them are like caricatures. How many Bobs (Kabir Bedi as the powerful, ruthless casino owner who does not balk at shooting down cheaters) have we seen, or Tonys, the archetypal jealous boyfriend with an army of goons behind him?

Many loosely scripted scenes as well and gaps that really should have been filled for a lucid narrative. A script doctor was badly need to stitch up the loose ends.

But the superb cinematography of “Kites” that has the look of a truly international film, Rajesh Roshan’s lilting music — “Zindagi, zindagi” is true winner — and some heartwarming moments score.

Barbara Mori also strikes a chord, and she’s a real good looker. But the best for the last — Hrithik Roshan looks better than he has in any other film, and with him dominating virtually every frame, this one is a treat for his fans. Go swoon, if you must

Kites Hindi Online Movie 2010 And Review

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Story: Kites movie
Hrithik Roshan treads the crooked path in the by-lanes of Las Vegas.In Kites movie He has married umpteen girls for the coveted green card and Barbara Mori happens to be one of his abandoned wives. But sparks fly between the two when they meet again, this time under different -- and dangerous -- circumstances. The mercenary couple are all set to marry a rich brother-sister duo (Kangana and Nick Brown) for their money but they soon discover they are in love and flee the rich and powerful siblings who are hell bent on avenging their dishonour. Will love surmount all odds?

Movie Review: Where's the chemistry? Where's the story? And where's the twist in the tale? Kites could have been that cross-over film that Bollywood has been dreaming about since long. Sadly, it flounders even before it can take off and soar....

So what's holding it down? First and foremost, the film completely lacks a story (oops! it has three people credited for story: Anurag Basu, Akash Khurana, Robin Bhatt) and unfolds as an unabashed chase film. Nothing wrong with that, for we have had a number of road movies that have thrilled and chilled us. But for that, there has always been a twist in the tale to provide an edgy feel to the film. Kites, on the other hand, does have Hrithik and Barbara spending the second half of the film as fugitives on the run, but their journey is so predictable, it fills you with a yawn. If the first half is a non-happening prolonged romance that unfolds in stares, glances, looks followed by some more stares, glances and looks between our protagonists (Hrithik and Barbara) as they try and seek out covert moments of togetherness in the palatial house of their respective bethrotheds (Kangana and Nick), the second half is a hit and run case which sees the fugitives hoping to make out 'neath the shadow of the gun. Both Barbara and Hrithik decide to give up their get-rich-quick plans and opt for penniless love instead, even though they know they will be pursued till the end of the world by the ditched brother-sister duo.

But hey, do they make out? Not really, unless you call Barbara yakking relentlessly in Spanish as sexy or Hrithik stitching up her arm beneath the rocks as romantic. Which brings us to the chemistry bit....Quite unlike the pre-release claims, the Mexican-Indian mix isn't exactly red hot chilli pepper stuff. Their romance hardly sizzles, with Mori spending most of her time flashing toothy grins and Hrithik failing to match up to his hot-hot bonding with Aishwarya Rai in Dhoom 11. Even the waterfall sequence in the jungle ends up as ekdum thanda!

So what works in Kites? It's the look of the film which carries it forward. Director Anurag Basu may have dipped in the emotional quotient of the film but he does create a visual feel and texture that has an international feel to it. The cinematography by Ayananka Bose has a grand texture and creates compelling montages, specially in the rain-drenched climax sequence. Performance-wise, the lead actors are just adequate and do not exactly set the screen ablaze, neither with their emotions nor with their passion. One almost feels sorry for Kangana, a fine actor who is reduced to a speechless accessory that is left to do what Hrithik and Barbara do -- stare, glance, look as the woman scorned -- for the short span that she's on. The audio track by Rajesh Roshan doesn't linger too, because the film mostly has a loud, repetitive background score by Salim-Suleiman interspersed with maybe just one forgettable number.

Watch Kites for its kool looks. But don't expect the popcorn to remain crunchy for long.

A word about:

Performances: Hrithik looks good, acts okay. Barbara looks okay, acts okay. Kangana: just looks. Ain't okay.

Story: Three people behind the story (Anurag Basu, Akash Khurana, Robin Bhatt), and yet nothing happens. Not acceptable.

Dialogue: Funniest dialogue: tum ullu ki patthi ho. Really?

Cinematography: Ayananka Bose captures videsh well. The highpoint of the film is its glossy canvas.

Music: Salim-Suleiman's background score is noisy and mournful in turn, while Rajesh Roshan's songs are easily forgotten.

Styling: Hrithik in traditional Mexican attire? Terrible. Otherwise, he looks uber cool while Barbara in a bikini disappears in a flash...Before the mercury can actually rise!

Rama Rama Krishna Krishna Telugu Online Movie 2010 And Review ( Updated)

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Review:
Banner: Sri Venkateswara Creations
Cast: Ram, Arjun, Priya Anand, Bindu Madhavi, Gracy Singh, Brahmanandam, Nazar, Bhenarji, Shayaji Shinde, Brahmaji, Pragathi, Srinivas Reddy and others
Direction: Srivas
Production: Dil Raju
Music: MM Keeravani
Majority of Telugu movies these days follow the success formula that has the equation of 4 songs and 5 fights plus comedy and sentiments. ‘Rama Rama Krishna Krishna’ (RRKK) is no exception and director Srivas has used the formula effectively although from the audience point of view, it is just another commercial movie.

Produced by ‘Dil’ Raju’s Sri Venkateshwara Creations, ‘Lakshyam’ director Srivas returns to make yet another commercial potboiler. Though nothing similar to ‘Lakshyam’ exists, the director seems to employ a bit too much of the violence even in RRKK.

The Story and Screenplay

We don't want to be spoilsports in revealing the exciting humour-weaved screenplay and the story of the movie but we'll give our readers the gist –

RRKK starts off in Mumbai with a daylight murder of a brother of Powar, an evil Don, by Arjun who is a good don. An exact description of the character would be like Rajinikanth in Baasha. Shades of that particular character has been spotted in many movies before.

Senior artist Arjun is ‘Ashok Deva’, a Don who does all the good things. (We’ve seen this for the Nth time) Arjun's wife Gracy Singh (Gauthami) wants Arjun to stop his activities and live in peace with his sisters – Priya( Priya Anand) and Sirisha. On Gauthami's birthday, in an attempt to kill Arjun, she falls prey to the villain's gun. Remembering his wife’s last wish, he leaves the violence. They flee to a Gandhipuram village in West Godavari and here is where our hero's introduced in the clichéd way. Ram (Rama Krishna) flies and arrives in the scene. Will the audience ever be relieved of such scenes in the changing scenario of Indian cinema?

Here is introduced an array of characters. Interestingly Ram’s introduction is narrated through junior NTR’s voice! Nasser as the village president and Ram’s father, Pragathi as Ram’s mother and Ram’s friends including Srinivas Reddy are given their quick introduction. The supposedly branded second heroine of the movie Bindhu Madhavi, is introduced as a modern day village girl. Importantly described is that Gandhipuram village is a village that doesn’t resort to violence!

Now to the plot - Arjun's sister Sirisha and Ram's brother like each other. As usual the families oppose, Ram promises his brother a happy union with the one his brother likes, after they elope away. In the course Arjun's enemy confronts them. How Ram unites them by fighting the villains and convincing the families is what forms the core part of the screenplay!

The screenplay has enough twists and turns with loads of family sentiments, especially sister sentiments of Arjun and high voltage action scenes. Enough doses of comedy are also included in the script which proves to be the only relief to the audience.

The Movie Analysis

The release of the movie in May seems like a strategy to target the family audience.

Director Srivas has tried to offer everyone of the family something in this movie. The murder scene at the beginning gives a sense of action movie but slowly transforms to the family genre. After the focus shifts to the villages of West Godavari, the scenes have been beautifully pictured. A beautiful song in the background composed and sung by M M Keeravani is played while the credits are scrolled with the beautiful Godavari River in the backdrop.

The hero’s characterization has been etched well. Ram as Rama Krishna has qualities of both Lord Rama and Krishna. He has a locket on him and whenever he’s in a dilemma in solving issues, he turns the medallion that has Rama on one side and Krishna on the other. So whoever God appears on the facing side, the hero takes that quality! How childish!

Cinematography, Choreography and Stunts receive a lot of appreciation as they have been weaved well in to the screenplay. Editing by Gowtham Raju is commendable as a few flashback scenes have been handled well without losing the plot in the present. Art direction in a few songs and in most scenes deserves applause as well. The entire team of RRKK as a whole has put a lot of effort but only time will tell if those efforts pay off.

The Performances

Starting from Action King Arjun, the senior actor looks fit given his maturing age. His physique is appealing and as a Don he suits quite well with his costumes. Having dubbed for himself in the movie, his acting doesn’t need a comment as he is versatile and has been acting for a long time now.

Moving to Ram, he has showcased his talents well. As a hero, his dance, fights and dialogue delivery have improved. He is quite responsive and in comparison to other movies, he’s done a tremendous job. He can try to offer some differentiation in his new projects from now on. Sticking to the same image can be stereotypic.

The heroines are just about okay. Though they don’t really have scope for acting, they have given their best. Priya Anand has a considerable screen presence when compared to The cute dimpled Bindhu Madhavi is simply used to flirt with her aunt’s son (Ram of course!) She usually pushes him to a corner and asks him to marry! Sans her, the movie has nothing to lose.

Siyaji Shinde has become the usual cop for Telugu movies! He has no variety in role or in performance. Other character artists like Nasser, Pragathi, Banerjee, Bramhaji in the villain’s camp and others have done their roles justice. The director has chosen the right actors for the right roles.

The Highlights

The first and foremost highlight of the movie is comedy. A healthy laugh is provided to the audience by Comedy King Bramhanandam. He is LSR, short for ‘Lechipoyina’(read elope) Subba Rao. His facial expressions, his comic timing and his dialogue delivery are simply awesome.

MM Keeravani’s rerecording is another major highlight. Some songs are great to hear, credit to the DTS and Sound Effects Team. The songs have been beautifully pictured. Especially in ‘Lera Chanti’, the festivities in Sankaranthi festival have been beautifully shown. Special effects in the movie also deserve praise, though at a few scenes you could sense them to be artificial. Car chase sequences have been captured well by director of photography Shekhar.

The Thumbs Down

Movies have always been an inspiration to us. Everyone in the audience would want to fight like the hero, drive cars like him, just about everything. Director Srivas has defied logic in the movie like most other directors. For an actor like Ram’s body-frame, can you expect him to thrash guys double his size? We all grew up learning to accept all that. Ram doesn’t quite drive the car, he flies it!

Bindhu Madhavi must concentrate on improving her acting! Priya Anand is learning fast and she would want to do a better job in the future.

A few Songs in the movie are placed in the wrong side of the screenplay. They pop up at awry places. Pity the audience and try making the movie, the slick way!

Violence in the movie is a little too much for the kids to see. A village youth like Ram, learns to handle thhandle the pistol as soon as he grabs one! Please, give us relief or we’ll end up chanting your film's title!

Fancy this movie if you like Ram, else wait for the TV Release!

Mona Singh Wallpapers

Mona Singh On Track Sitting In Sofa

Mona Singh Cute Smile Looking Awesome

Mona Singh Looking Hot In Red Saree

Mona Singh In a Transparent Saree Looking Sexy

Mona Singh In Bikini LOoking Hot

Its a Wonderful Afterlife (2010) Hindi Online Movie Full And Review

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It set me thinking as reel after reel of Gurinder Chadha's It's A Wonderful Afterlife unspooled. We (the Bollywood reviewers/critics) are extremely harsh on films produced on hometurf. We go hammer and tongs after these film-makers, as if they have committed a crime that they cannot be absolved of. We tend to ridicule films, its makers, the actors in those films… In fact, just about everyone associated with those films.

Buzz up!
How about using the same yardstick for movies attempted by names that command tremendous respect in the West? We forgive them, most of the time. We even turn a blind eye, ignoring the deficiencies only because the West holds them in high esteem. The thought crosses our mind pretty often: Wouldn't we come across as complete nincompoops if we ridiculed them, even if they turn up with pure trash?


I am not going to mince words. With It's A Wonderful Afterlife, celebrated filmmaker Gurinder Chadha hits a new low. It actually makes me wonder, was Bend It Like Beckham a fluke? It's A Wonderful Afterlife is so insipid and hollow that it makes her previous film Bride & Prejudice, considered by many as her weakest film, look like an epic in comparison.

Final word? It's A Wonderful Afterlife had everything going in its favour. But let's not forget that great vegetables don't necessarily make a yummy meal. This Gurinder Chadha curry is just not palatable!

Mrs. Sethi (Shabana Azmi), a widow, can't bear the thought of her daughter being alone and unhappy. When Mrs. Sethi can no longer stomach the rudeness of families who refuse her daughter, she takes matters into her own hands with the only way she knows... Suddenly a police hunt begins for a serial murderer.

Mrs. Sethi doesn't feel too guilty until the spirits of her victims come back to haunt her, as they are unable to be reincarnated until their murderer dies. Mrs. Sethi has no problem killing herself - she'll get to see her dead husband again - but how can she go before her daughter is married? The spirits realize that helping Mrs. Sethi find a suitable husband for her daughter, before the police catch her, is their only chance for a wonderful afterlife.

On paper, perhaps, the story of It's A Wonderful Afterlife may sound tempting and alluring. At least I found it attention-grabbing when I first heard it, several weeks ago. But sitting through those 1.40 hours of this cinematic journey is an ordeal. Seriously, what were writers Chadha and Paul Mayeda Berges thinking when they wrote the screenplay? Barely a few minutes into the film, you realize that Chadha has lost the plot already.

To state that the screenplay is shoddy would be putting it mildly. The only aspect that's amusing and which bears the unmistakable stamp of Chadha are the sequences between Shabana and the spirits. The love story is a total yawn, while the emotional moments are weak and the investigation of the murders is half-baked too. In fact, an investigating officer gets killed in the backyard of Shabana's home and guess what, the crime is conveniently forgotten, except when Senthil talks about it to Shabana. And why the beaten to death 'cancer' end? Gurinder seems to be watching too many (terrible) Bollywood films, seems like.

Talking of performances, Shabana is dependable, as always. Goldy Notay as Shabana's daughter is efficient. Sendhil Ramamurthy is alright. Jimi Mistry doesn't get ample scope. Sally Hawkins is first-rate. Mark Addy is passable. Sanjeev Bhaskar is wonderful. Shaheen Khan and Zoe Wanamaker (Shabana's next-door-neighbour) are decent.

On the whole, this one's a woeful experience, not wonderful by any standard!

Director - Gurindher Chadha
Cast - Shabana Azmi, Shaheen Khan, Goldy Notay, Sally Hawkins, Sendhil Ramamurthy, Sanjeev Bhaskar, Zoe Wanamaker

Kushti 2010 Hindi Online Movie Full And Review

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Story : Post master Rajpal Yadav falls in love with the local wrestler's daughter but can only win her hand if he defeats the mighty Khali. He enters the tutelage of rival wrestler, Om Puri and hopes to win a losing battle. Will love conquer all the odds?

Movie Review: Rajpal Yadav is a lucky man. He manages to get a lot of film makers who are willing to weave films around him, which isn't what many comedians or character actors can dream of in Bollywood. Sometimes he manages to carry them off (Main Madhuri Dixit Banna Chahti Hoon, Main Meri Patni aur Woh) and sometimes he slips. Here, he just manages to maintain some ground beneath his slippery feet. But only some.

Set in a sleepy village, the film follows the travails of the postmaster (Rajpal Yadav) as he tries to woo wrestler Sharat Saxena's daughter. Needless to say, he keeps getting into sticky situations but none is as bothersome as the climactic one where he must defeat the mighty Khali before he can claim the village belle's hand. He does try to learn a few tricks of the trade from Om Puri who runs his own akhada, but eventually, it's his me-just-a-joker act which creates a bigger bang than all his thigh thumping in the arena.

Needless to say, the high point of the film is Khali's presence in the film. But this one would be quite a disappointment for Khali fans, because the professional wrestler has a minuscule cameo that includes a terrible sequence where he is supposed to savour an item number too. Poor Khali, he simply can't handle this khal-bali and looks truly uncomfortable.

Kalusukovalani Telugu Online Movie Full And Download Free DVD Rip

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Bum Bum Bole 2010 Hindi Online Movie And Review

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For once there will be no accusations of a story being lifted.

Priyadarshan's [ Images ] latest Bum Bum Bole is an 'official' adaptation of the award winning Iranian film Children of Heaven. With the screenplay firmly in place and a master director such as Priyadarshan at the helm, one would not be wrong to expect a sweet kiddie film which both entertains and enthralls. Unfortunately that doesn't happen.

Darsheel Safary (Pinu) is a 12-year-old who is being forced to grow up before his time as the family has fallen on bad times. One day as he runs around the village doing some errands for his parents, he misplaces his sister Zia's shoes which have just been repaired.

Pinu has off late been the target of his father's ire for no fault of his own. His dad (Atul Kulkarni [ Images ]) and his mother (Rituparna Sengupta) have both recently lost their jobs and the struggle for survival seems to be taking precedence over all other matters. The brother cajoles the sister into keeping quiet in the hope that he will get her a new pair of shoes at the earliest.

As their parents look at a long-term future where they must provide an education for their kids, Darsheel and Zia can only think about the day where Zia will get a new pair of shoes and their lives can return to normal. A great idea which could have been woven into an intriguing storyline! So where does the film go off track?

Right at the beginning! A couple of reels and you know the director wants you to weep copiously through the film. Unfortunately, such blatant manipulative efforts have the opposite effect. One feels distant and aloof instead of empathizing with the characters.

But the plot encompasses much more. There is an attempted rape, terrorists at large, the super rich living in palatial villas who have enough to eat but nobody to talk to, police officials who throw their weight around and pick up illiterate workers in the middle of the night. Phew! And then they have the audacity to call it a children's film.

The film holds your interests in bits and pieces largely due to the performances by Darsheel and Atul Kulkarni. With his second film Darsheel proves he is here to stay. He uses his body, his eyes and his hands expressively. Great because if he had relied on the pithy, cliched dialogues -- which have been provided to him -- his performance would have bombed.

The film took a long time to make which can be judged merely by Darsheel's height. He looks kiddish in one sequence and a teenager in the next. Also he's wearing braces in a few scenes especially those in the second half of the film. A poor village kid with metal glinting in his mouth. Oh, how they love to insult our intelligence.

His sister Zia has a cherubic angelic face. The less said about her performance the better. Her lengthy dialogues rob her appearances of any spontaneity.

Atul Kulkarni is convincing as the father striving to keep his head above the water. Rituparna Sengupta [ Images ] needs to improve both her screechy dialogue delivery and her Hindi speaking abilities.

An interesting heart-warming character is Darsheel's school friend who comes late to school every day. He speaks with a deadpan face which had the audience laughing with him.

At some point one wonders who the real producer of the film is? An intelligent audience is aware of in-house sponsorship but here a well-known brand of shoes takes up as much screen space as the lead actors.

The second half of the film could have been chopped considerably and the climax stretches endlessly. Surprisingly in the climax too, the shoes seem to be the focus of the film not Darsheel. Let's hope this doesn't set a new trend in Bollywood.

The film is a must-watch for Darsheel fans but they must be prepared to suffer. And everybody else must keep away!

Adavari Matalaku Ardhale Verule Telugu Online Movie Full And Review

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Review:Jeevi rating: 3.5/5
Punchline: Sacrifices of a software engineer
Genre: Family Drama
Banner: Sri Saideva Productions

Cast: Venkatesh, Trisha, Sreeram, Kota, K Viswanath, Colors Swathy, Sunil, Jeeva, Prasad Babu, Suman Setty, Anant, GV, Melkote, Rajeswari, Vinaya Prasad, Mumaith Khan & Meghanaa Naidu.

Music: Yuan Shankar Raja
Dialogues: Ramesh Gopi
Cinematography: Balamurugan
Story - screenplay - Direction: (Sri Raghava) Selva Raghavan
Producer: NV Prasad & Sanam Naga Ashok Kumar
Release Date: 27 April 2007
Review

Story

amavGanesh (Venkatesh), an unemployed bachelor for the past 10 years, suddenly lands up in a software company inspired by Keerthi (Trisha). He slowly falls in love with her and proposes her. But she is already engaged to her bava and her marriage is due in a month. A sudden tragedy takes place in Ganesh life, which puts him into an intriguing situation. The rest of the story is all about how he solves it and emerges victorious.

Artists Performance

AMAVVenkatesh: AMAV is an example for what an actor like Venkatesh can contribute to a script. This is probably the best performance Venkatesh has given so far. His comedy timing is ultimate. Doing such kind of comedy is extremely difficult. And Venkatesh does it with aplomb and makes sure that we all accept it and enjoy it immensely. He lowered his image a lot to make sure that it helps elevating the character. He is perfect in emotional scenes.

amavOthers: Trisha has got a pivotal role in this film where she is needed to act a lot and she is completely at home playing the heroine role. She is beautiful and enacted her role very well. Colors Swathi steals the show in the second half as the girl who has gone fida over Venkatesh. Kota is excellent as the father of hero and his performance in this film is one his best in recent times. Veteran director and actor K Viswanath did an important role very well. Sriram does a vital role and he is good. Sunil’s comedy at telephone is nice. Jeeva is entertaining in his tiny role. Meghana Naidu and Mumaith Khan sizzled in a couple of songs.

Technical Departments:

AMAVStory: The basic story of the film has uncanny resemblance to the film DDLJ. The characterizations and relationships are also similar for Venkatesh (Sharukh Khan), Kota (Aupam Kher), Trisha (Kajol), K Viswanath (Amrish Puri) and Colors Swati (Mandira Bedi). The set-up for the second half seem to be similar to that of Kalisundam Raa. The ambiance in K Viswanath’s house is bit like that of Murari film. The sacrificing attitude of hero has similarities towards Santosham film. Though the story seems to have the traces of other films, the director made sure that there are some honest and original moments.

amavScreenplay - direction: Director Selva Raghavan made sure that he brings his trademark ‘realistic touch’ to the story. He is an expert at bringing great emotions with death scenes. He inserted good comedy in the film though certain part of it is weird. He handled emotions in a convincing way. Though he handled the film well, he could not end the film in a convincing manner. The relationship between father - son is enchanting. Narration is little slow and screenplay is adequate. Nonetheless, Selva Raghavan succeeds in touching the right chord by directing a big hero for the first time. He concentrated on entertainment in the first half and mixed strong emotions in the second half to make sure that audience will have certain positive heaviness in their hearts when they leave the theater.

AMAVOther departments: Dialogues of the film are extremely good. The strong dialogues written for emotional scenes helped the film. Music by Yuan Shankar Raja might not sound good when you listen to the audio, but it goes well with the flow of the film. Allantha Dooraniki is the best song in the film and it haunts you. Yemayyindi ee vela is another beautiful song shot very well on the screen. The background music is also interesting. Cinematography is very good. Editing is crisp. There is only one fight and it should have been done better. Producers have spent lavishly to make sure that the entire film is visually rich.

amavAnalysis: First half is very entertaining (and watch out for the crazy antics Venkatesh has done). Second half is filled with strong emotion and good comedy. Venkatesh’s ultimate comedy, Trisha, Selva Raghavan’s genuine moments and dialogues are the main positive aspects of this film. On the flip side, I feel that the clarity is missing in conceiving climax of the film. It is intriguing to see K Viswanath behaving weirdly at the end of the film. There are some dull moments in the first half. Venkatesh has chosen the right subject for this film and it will have good prospects at box office as it has both entertainment and emotions in a right mix. Go and watch it.

Konchem Ishtam Konchem Kashtam Telugu Online Movie Full And Review

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Review:
Cast: Siddharth, Tamanna, Prakashraj, Ramya Krishna, Nassar and Others.
Art: Chinna.
Cinematography: Vijay K. Chakravarthy.
Dialogues: Abburi Ravi.
Editing: Sreekar Prasad.
Music: Shankar-Ehsaan-Loy.
Screenplay: Deepak Raj-Vikram Siri.
Presenter: Baby Bhavya.
Producer: Nallamalupu Srinivas (Bujji).
Story & Direction: Kishore Kumar (Dolly).
Banner: Lakshmi Narasimha Productions.
Release Date: 05th February, 2009.

The packaging is good. Siddharth, Tamanna, Prakashraj and Ramya Krishna. A debutante director, a new-age production design and music by Shankar-Eshaan-Loy. A one-line sweet and simple concept. It could have well been another Bommarillu. Alas. The concept, though sweet and simple, is not new. Without the novelty factor, the direction which is neither lacklustre nor note-worthy puts the movie right in the middle ground here. The movie goes about on it's own pace, with it's own set of comic scenes and characters, used at the right times and places. Story picks up in the second half..clean, family..entertainment? Possibly. Or not.

Plot Siddhartha is a flirtatious young man into whose life walks in Geeta, her father's pet. Siddhu's parents have separated more than a decade ago and this is an issue with Geeta's father when they confess their love towards each other to him. How Siddhu will overcome this problem and unite his parents for his own union with Geeta is the storyline.

Story, Screenplay and Direction Siddhu's character starts off with an interesting wave of incidents, where he is an unapologetic flirt. Then there is a sob story about how he has no tears anymore because his parents separated when he was just a kid. Then he sheds one single drop of tear for Geeta, and knows that it's love. They fight, they make up and he changes for her. He teaches his father 'about love'. Ramya Krishna lives the stern single-mother life, where she walked out of a few years old marriage because her husband doesn't spend time with her.

There are those 'cute' touches to a movie such as this. Still, those lack what we call 'punch'. Brahmanandam is cricket-crazy Gacchibowli Diwakar. Geeta teaches Siddhu's mother to cross her estranged husband's photograph to relieve herself of anger. The concepts in themselves are not uninteresting, but the presentation is imperfect. Not to mention underplayed at the wrong times. The background score could have been better too. The writing, direction and editing are all not bad in themselves, but they do not come together in this movie. They somehow don't make one whole wherein you can see where the movie has it's heart, it's soul and it's brain. Together.

Overall, what you have to say is sometimes immaterial and it's all about how you say it. What the maker had to say is actually quite nice. How it's been said-considering the production scale-is a little more upbeat than a short flick or a small-budgeted no-star movie. The conflict is given and the solution is thought of immediately and the progress starts off to a shaky beginning only to get predictable in 20 seconds flat.

Performances Siddhartha playing his namesake has become slightly monotonous, but carries the movie along pretty well. He fits the role, looks fit and very presentable, dances happily and romances with a flourish. Tamanna pairs nicely with him and does her whole huffing and puffing act of Happy Days all over again, with decent results. Prakashraj adds his brand to the role, Ramya Krishna's dubbing should have been better. Venumadhav and Brahmanandam add in the comic element smoothly. Nassar makes an impression.

Music and Choreography The music and dance is good, and Siddhartha entertains in all the songs. Two of the songs are especially fun, including Evade Subrahmanyam. Background is inconsistent. Re-recording is not at its best, even though the tunes are catchy.

Last Word An okay one-time watch, but only Konchem nice and cute and Konchem routine and repetitive.

Badmaash Company Hindi Online Movie Full And Review 2010

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Review:
Film: Badmaash Company
Starring: Shahid Kapoor, Anushka Sharma, Meiyang Chang, Vir Das
Written & Directed by: Parmeet Sethi
Rating:

There’s a longish sequence in an American eatery in the second-half of this deeply flawed and yet refreshingly cool urbane casual and yet highly cinematic work where Shahid Kapoor’s Karan, by now on the road to seemingly irredeemable moral degeneration is told by his partner, played by newcomer Vir Das, that he wants out.

The way that sequence progresses and the manner in which the two actors play out a conventional friends-falling-apart moment, just makes you forgive all the excesses of inflated self-worth that the script suffers from in the last 90 minutes of this endearing though exasperating experience.

“Badmaash Company” is a film that is too smart for its own good. The main characters, four friends bonded by the collective will to grow rich overnight, go through a series on caper experiences. Not all of it is either convincing or even interesting. After a point, we know exactly where this quartet is hurling to. And the slide out of moral degeneration is never touching enough to make us shed a tear for these misguided over-reachers.

The doom comes none too soon, and then the narrative proceeds without a proper graph. By the time Karan (Shahid Kapoor)’s spunky girl Bulbul (Anushka Sharma) leaves him the script begins to look like one of those subverted morality tales from the house of the Bhatts where the heroes talk with clenched fists and heroines weep in their pillows as their companions come home in a drunken stupor.

We’ve been here before. But wait. There is a sense of intuitive cockiness about the narrative which just sees the film’s improbable mixture of the trendy and the trite to the final stretch of predictable moral redemption.

There is a sense of the predictable and yet the unpredictable in the storytelling. Debutante director Parmeet Sethi’s screenplay is one of those things that you want to believe merely because it sounds so smart on paper. But not all of this makes complete or even incomplete sense. The climax about colour-bleeding shirts being sold to America as the Next Best Thing is much too far-fetched to work even as a part of a con caper.

Nonetheless “Badmaash Company” has a lot going for itself. The first-half when Karan meets Bulbul, Zing and Chang to create an instantly materialistic energy, gets you interested in these out-of-control lives. You don’t quite empathize with their overweening goals. But at least they seem to know their minds, even if on occasions the plot doesn’t seem to know what it’s doing.

There’s something pitch-friendly about the four actors and the way they tackle the plot material, sometimes cool sometimes over-reaching itself. If the film holds together it’s because of the bonafide enthusiasm and unconditional surrender to the proceedings of the actors.

Shahid Kapoor pitches in another perfectly poised and subtle performance even though his character’s graph gets blurred towards the end. You can’t stop caring for Karan’s character because Shahid doesn’t let go of his centre even when the narrative gets shaky.

Anushka Sharma in a stunning makeover conveys her character’s spirit and spunk through her well-toned body language and that twinkle in the eye. Tragically a lot of her speech and morality, and this goes for a lot of the film’s careless periodicity, is not 1980s(the film’s setting) at all.

Vir Das as the film buff with a roving eye negotiates his character with gentle care. Here’s one actor who knows what he’s doing even when his character doesn’t. And Meiyang Chang as the chinky-eyed alcohol guzzling Gangtok-guy seems made for his character.

“Badmaash Company” is an extremely smart and smart-looking film. But its sassy all-knowing tone cannot hide a certain bankruptcy of genuinely inventive ideas. This is a fatally-flawed film about seriously flawed characters. The packaging is glamorous but not over-done. The dialogues convey a ring of truth without bending backwards to be cool.

“Badmaash Company” has enough going for itself to make it an experience worth our while.

City Of Gold Hindi Online Movie Full And Review 2010

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Review:
Film: “City Of Gold”
Director: Mahesh Manjrekar
Cast: Seema Biswas, Karan Patel, Ankush Chowdhary, Satish Kaushik and Kashmira Shah
Rating: 3.5

There is no room for artifice in Mahesh Manjrekar’s latest work. A raw, gritty look at the world of the ravaged, “City Of Gold” is as powerful in portraying a bereft working class as “Molly Maguires” was about Irish mine workers… Except for the fact that there is no room for pretty visuals in “City Of Gold”.

Manjrekar’s chawl-life, captured on camera with merciless frankness by Ajit Reddy, is a bleak world of dreamers and losers who are often the one and the same. His heroes (if we may call the young characters that) are offered no hope of solace or redemption. This is the side of the slum that Danny Boyle missed when he made “Slumdog Millionaire”.

“City Of Gold” is neither stylish nor swanky enough to attract elitist readings of poverty. Fiercely radical in thought and intensely socialistic in execution, the film plunges beneath the poverty line to emerge with characters whose despair is not an act for the camera. The sweat and grime, the corruption and crime are characters of their own in Manjrekar’s chaotic world.

Mumbai never looked murkier and less inviting.

Taking a panoramic look at the lives of thousands of mill workers in Mumbai who went on an indefinite strike in 1982 is like trying to hold the ocean in a tea cup. Manjrekar, in what could easily be rated as his finest, most cogent work to date, does just that.

He holds a universe in the eye of the camera. It is a world of the doomed and damned, no frills attached.

His return to fine form and the enrapturing energy level that sweeps across a multitude of lives without trivializing any of the characters are reasons enough to celebrate the joys of neo-realistic cinema.

But wait… “City Of Gold” not only marks the return of a storyteller who tells it like it is, without the comfort of shortcuts. It’s also a macroscopic look at people who populate the fringes. Their silent protests are seldom heard in cinema.

Not for a second do we feel any comforting distance from the misery of Manjrekar’s characters.

Manjrekar shoots his characters’ emotions in tight, comprehensive close-ups but wastes no time shedding excessive tears over their lives. The editor (Sarvesh Parab) cuts the raw material with ruthless economy, leaving no room for humbug and certainly no space for commercial embellishments.

So the question, what happened to those thousands of mill workers who were overnight rendered bankrupt after the mills closed down? You will find some uncomfortable answers in “City Of Gold”. But most of the time you will be faced with questions about the quality of life we choose to hand over to those who are economically and emotionally weak.

Would this film have worked without the actors who don’t look like they are facing a camera? The whole batallion of characters flicker to life as though they were a part of an extended family shot by hidden cameras for a reality show.

Television actor Karan Patel as the youngest scion of Manjrekar’s troubled family is a revelation. He portrays pain, humiliation, angst, compromise and anger with complete authority.

Housefull Hindi Online Movie Full DVD And Review 2010 (Updated)

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HouseFull Hindi Movie Review:
ilm: “Housefull”
Starring: Akshay Kumar, Deepika Padukone, Arjun Rampal, Lara Dutta, Jiah Khan, Riteish Deshmukh
Directed by: Sajid Khan
Rating: 3

This is a sly tongue firmly and stubbornly in cheek, slick and chic comedy about a loser, or a panauti – a word that recurs ad nauseum in this glorious gasbag of giggles, winks, nudges and innuendos packaged with such polished panache that you don’t really care what the inter-relations in the parodic plot finally signify.

Maybe they signify nothing more than a numbing but pleasantly diverting nothingness. But who the heck cares, as long as the tumble of confusions generates a hilarious havoc.

“Housefull”, as the title suggests, is chockful of characters who bump into one another and into hard surfaces (including the unresolved edges in the plot) without injury. It’s all done in ricocheting rhythms of laughter that rises from the pit of the plot’s belly and moves upwards towards us, sometimes missing its target.

More than the screenplay (Milap Zaveri, Sajid Khan, Vibha Singh) which moves helter-skelter in every direction away from the centre of the plot and just about succeeds in coming to a reasonably coherent conclusion, it is the bevy of characters who are positioned in the screenplay with a supreme sense of pyramidal aptness.

Every actor shines because he or she knows the idea is to have fun and to transmit that fun to the audience. It’s the actors’ responsibility to make the maze of inter-relations hold together. They succeed.

Yes, sometimes the actors seem to enjoy the comedy of energetic error more than we do. Beyond a point how many slap-happy slipping-on-the-floor nudge-nudge-wink-wink oops-we-did-it-again rolling of the eyes biting-of-the-tongue jokes can we take??

But somehow it all holds together. Like a jigsaw done in the pages of a comic book and then put on celluloid, “Housefull” evokes smiles and chuckles in cramped and wide-open spaces.

There is a casino in London where our loser-hero is beckoned to stem losses, a casino waitress (Lara Dutta) whose traditional Gujarati father (Boman Irani, as confidently spontaneous as ever) has disowned her for eloping with a man of her choice, a stern government agent (Arjun Rampal, the only actor who doesn’t get to smile in this chirpy

chuckle-fest), a sexy widow (Lilette Dubey) and assorted characters who come and go in a whoosh of wacky misunderstandings, confused identity and half-resolved comic snarls.

Sajid Khan’s earlier film “Heyy Babyy” was a minty mix of mirth and maudlinism. “Housefull” is a full-on flamboyant farce. Strangely there’s a subtlety even tenderness at times, in the way Sajid Khan handles the satirical material centred on the theme of a loser who brings bad luck on himself so often that he begins to wonder if there’s a method to the madness of his destiny.

Unlike most situational comedies “Housefull” chooses the lower octaves of storytelling. The scale is pitched down. Even when the characters scream their lungs out we don’t wince in discomfort. This is the most well-behaved comedy in recent times with an array of pert but low-key performances.

Stripped of all buffoonery Akshay Kumar does his most delicately balanced comic act ever. There’s a mellow maturity to the way he balances farce with a more underplayed style of comedy. Riteish Deshmukh provides Akshay with the right cues. So do the rest of the actors. Among the three glamorous and sexy ladies Lara Dutta has the best comic

timing. Mention must be made of Chunky Pandey who brings the roof down with his Italian-Punjabi accent and burlesque.

“Housefull” looks and feels right. The climax in ‘Buckingham Palace’ (replete with Queen

Elizabeth and Prince Charles look-alikes) depends too closely on a literal outflow of laughter gas. But that’s okay. Delicacy of comic presentation is not a claim that “Housefull” makes. But moments of muffled tenderness just happen in the plot’s confounded journey of a loser from no-love to know-love.

Worth watching for its mix of the wacky and the more tender variety of laughter.