Movie Review Hori Kannada 2011

This is the remake of ‘Meese Madhavan’ that was released nine years ago in Malayalam and it was made as ‘Dongadu’ in Telugu (released in 2003) later the Tamil version was also made according to records. A similar subject in Kannada was ‘Sampatthige Savaal’ of Dr Rajakumar, Manjula, Vajramuni and Balakrishna in the 1970’s.

Krishna (Vinod Prabhakar) is a thief for good purpose. Whenever he twirls his moustache he is sure to rob on that night. From his childhood he has been stealing from the house of rich landlord (played by Doddanna) and giving it to poor. He is not with big ambition. He helps the constable of the town with one lakh of rupees and antagonize with the cruel landlord.

On the arrival of Rukmini (Gowri Munjal) the anger against Krishna mount up. Once the cruel cop is posted (played by Adhi Lokesh) the landlord decides to teach a lesson to Krishna. For putting aside Krishna domination the landlord even ready to give his daughter Rukmini to cop. But the cop in the town has a different purpose. His intention is to steal the precious antique piece – idol in the temple.

When the idol is missing from the temple all point to Krishna because he is in need of Rs.2 lakh at that time. Things work out different with the brainy work of Krishna and his muscle strength comes to a big help.

ANALYSIS: Stories of similar subject have already come and gone in Kannada. Dr Rajakumar ‘Sampathige Savaal’ super hit film has all the ingredients. The characters in ‘Hori’ also remind the yesteryears film.

Director Nagendra Magadi has taken good work and made is look good to the masses but he has not used his brain to weed out unwanted characters and scenes.

For example the role of Ramanithu Chaudhary, daughter of Constable Sadashiva Brahmavar was not necessary. The family melodrama in the house of Krishna – his mother crying, his brother and sister in law characters are routine.

Superb is the action portions of Vinod Prabhakar. They are mind blowing. The stunt directors and ability of Vinod Prabhakar unfailingly bring back the old memories of Tiger Prabhakar of South Indian films villain, Kannada films hero.

On the logic part also the film ‘Hori’ is a failure. The protagonist is projected as a thief. The villagers know about it. But his Robin Hood nature earns him support. He is so idealistic that he does not steal the papers related to his land!

The length of the movie is the main stressing point. Director Nagendra Magadi has brought the shades of Tiger Prabhakar. That was most essential he feels. When the motion Tata Sumo Vinod Prabhkar hold from his hands, his father pushing the elephant holding the elephant trunks earns good applaud.

PERFORMANCE: This role suits immaculately for Vinod Prabhakar. This is his best so far. In dialogue delivery and action portions he is like his father.

Gowri Manjal shines as the hot headed lady in this film. The dubbing is very good for her portion. She looks bit fatty. Ramanithu Chaudhary is wasted. Doddanna has given stunning performance. Adhi Lokesh is apt as corrupt cop. Nagashekar, Bullet Prakash and Tennis Krishna have given able support. The side kick for Doddanna role played by Sureschandra is having good timing in dialogue delivery.

TECHNCIALITY: Not only the songs and camera work but the art department is fine in this film ‘Hori’. Renukumar has taken one tune from Dr Rajakumar’s film ‘Nee Nanna Gellare’ for this film. The marriage song, the two duets between Vinod Prabhakar and Gowri Manjal are terrific.

MR Senu camera work is an additional boon to this film. The songs capturing and exteriors he has been too good.

Worth watching once!

LAST BUT NOT THE LEAST: ‘Hori’ means ‘Bull’ – the film is not so ‘Dull’.

ACTION ENTERTAINER: Score – 3/5
Courtesy : SuperGoodMovies
BANNER: KBC combines
TITEL: Hori
CAST: Vinod Prabhakar, Gowri Manjal, Ramanithu Chaudhary, Doddanna, Sureshchandra, Adhi Lokesh, Bullet Prakash,Tennis Krishna, Pallakki Radhakrishna, BR Radha, Pavitra Lokesh, Nagashekhar, Sadashiva Brahmavar, Ravi Chetan Umesh and others
CINEMATOGRAPHY: MR Seenu
MUSIC: Renukumar
PRODUCER: Linge Gowda
SCREENPLAY, DIRECTION: Nagendra Magadi

Movie Review Hori Kannada 2011, Kannada Movie Review

Yogish Dhool Movie Review Kannada 2011

A remake of ‘Thiruvilaiyaadal Aarambam’ (released in 2006) Tamil cinema is all about the clash of a lover with his fiancé brother. Winning the love doing lot of labor at any cost is the sole intention of this film.Guru (Yogish) a happy go lucky youth falls in love with Priya (Aindrita Ray). It is big struggle to win Priya for Guru. It is even stronger struggle for Guru to win Priya brother Nanda (Prakash Raj).

Nanda at any cost does not want Guru to marry his sister. Guru in pre interval fixes a price for exchange of love. It is Rs.25 lakh deal Guru gets. When Priya is told about this with ease Guru manages the situation by saying he has not told her that he does not love her. The war turns very hot between Guru and Nanda now. Guru with the given Rs.25 lakh owns a business and flourish. Even in business Guru becomes a hard nut to crack. At this time Priya declare to her brother that she had married Guru in the registrar office. This is very boiling situation for Nanda. Guru ask for Rs.10 lakhs in exchange of papers of registration marriage.

Whether Nanda realizes the truthfulness, loyalty and ability to look after his sister by Guru is reveled in the climax.

ANALYSIS: It is a frame to frame carbon copy of the Tamil film. At some places director Dharani executes the scenes very convincingly.

Why Nanda uses the police force to beat his rival Guru is a point that strikes. The scenes between Yogish and Prakash Rao are not convincing. Yogish looks very dull in front of Prakash Raj. The character of Yogish should have had a strong voice first of all. Otherwise a strong dubbing was a must whenever Yogish comes before Prakash Raj.

It is just because Yogish is looking thin and this role suits him the director Dharani might have selected. What about the mighty Prakash Raj who is ten times stronger in his performance. A stronger opponent for Prakash Raj was required. This is of course a different kind of ‘brother and sister’ sentiment suits the modern days.

The mind game and intelligence is what counts more in this film. There were chances for the film to win very punching dialogues.

PERFORMANCE: Yogish with the image of ‘Loose Madha’ for him partially suits the film. He falls flat whenever Prakash Rao comes on screen. Yogish lacks the stunning voice.

Prakash Raj scores over everyone from his looks, agile style and dialogue delivery. Aindrita Ray has a good catwalk in the film. She looks very pretty in the songs. Om Prakash Rao comedy imitating his father NS Rao is quite OK.

Achyuth Kumar is convincing as father and Sudha Belawadi as mother is OK. Sangeetha has nothing much to do.

TECHNICALITY: Technically this film is a super flop cinema. Right from the beginning the visibility is not good. The film visibility is such that it leaves a feeling that we are watching an old cinema.

This might be because of the UFO screening too. K Dathu camera work is very active in songs. V Harikrishna music is passable with two songs. The song ‘Loose Madha….is modern one in style, Nanagene Heege Aguvudhu Sariye…is melodious. The tug of war song Nanna Neenu Gellalare…..for Prakash Raj and Yogish is lifted from the yesteryears Dr Rajakumar film.

LAST BUT NOT THE LEAST: Love and Labor - both not lost in this film!

YOGISH SHINES PRAKASH RAJ STUNS!: Score - 2.5/5
Courtesy : SuperGoodMovies
BANNER: Sri Sevalal Productions
TITEL: Dhool
CAST: Yogish, Aindrita Ray, Prakash Raj, Om Prakash Rao, Sangeetha, Achyuthkumar, Sudha Belawadi, Manadip Ray and others
CINEMATOGRAPHY: K Dathu
MUSIC: V Harikrishna
PRODUCER: MH Sunil
DIRECTION: Dharani

Review Dhool Kannada Movie 2011 Yogesh, yogish dhool review, kannada movie review dhool, dhool movie review kannada

Hindi Movie I AM Review 2011

“Kaafi garmi hai (It’s quite hot),” is a young college kid’s (Purab Kohli) lam opener. The woman sitting next to him understands the boy’s discomfort at making a conversation. “You don't have to talk, if you don't want to,” she, Afia (Nandita Das), tells him. It is a weird situation. The two are at the lobby of a fertility clinic. The boy’s a sperm donor -- the woman, the recipient. As per rules, they were never supposed to meet. But she was adamant. Through flashbacks, we figure how this single woman, once married to a cheater cock, got to where she is.

I Am, strictly speaking, is not a feature film. It’s a bunch of four entirely unrelated short films. Given lowered attention spans among audiences in general, this may well be how movies could be watched in the future. I’m of course making this sweeping prediction in the same vein VS Naipaul had once famously prophesied the demise of the novel.

Afia has a buddy called Megha (Juhi Chawla), which is the loose connection for her story that follows. These casual links justify all shorts within this common package.

Megha, a displaced Hindu pandit, goes back to Kashmir to sign away her ancestral property on a dotted line -- finally undo her ties with the heaven on earth she once called home. Hers is a sensitive conflict. She meets the current Muslim occupants, ones who were once her friends and neighbours. They’re now set apart by terrorism and a curse called organised religion. Manisha Koirala plays Megha’s Kashmiri childhood friend.

It’s been a while since we saw Koirala on screen. It’s still not hard to tell how Mani Ratnam saw a suicide bomber (Dil Se) in those intensely feminine looks. As the two separated friends spend time together, it becomes unclear whose life is better now: whether the Hindu woman found actual freedom, because she was forced to leave Kashmir. Did those who she left behind find only potholes in a place they once considered paradise.

You are made to think, therefore, I guess, I Am. Which is a good thing. Two films down. Two more to go. Through each of the shorts set in four different cities, you sense as well the sights and sounds of Kolkata, Kashmir, Bengaluru and Mumbai that make for a changing Indian landscape.

The third pic is a pretty predictable account of a man (Sanjay Suri) who was sodomised by his uncle (Anurag Kashyap) while growing up. The victim somehow used that to his selfish advantage. This is almost in the same way, the final film, starring the incredibly uninhibited Rahul Bose -- unusual for Indian leading men -- shows how the marginalised homosexual community in the country, living under an antiquated law (now repealed), are abused, harassed for all sorts of personal gains.

Clearly, the director’s picked up strongly engaging conflicts. It should also be as noted achievement for online social networks that, along with professional producers, the filmmaker found 400 unknown investors from across 45 cities of the world to back this vision.

Given that you do end up with four movies, instead of one, it’s only fair that one points out their personal favourite. Mine will have to be the first: a recipient who meets her sperm donor. It’s short-lived. A few steps ahead and this could have been a story with very world-class, Pedro Almodovar (Talk To Her, All About My Mother) sort of sensibilities. For now this would do.

Courtesy : Hindustantimes

Movie Review Simbu's Vaanam Tamil

Prolific Telugu director Krish comes to Tamil bringing with him his critically acclaimed Vedam as Vaanam with an ensemble cast of STR (Silambarasan), Bharath, Anushka, Vega, Saranya, Prakash Raj and others. Vedam had given Krish an admirable name to reckon with in the Telugu industry and for his debut in Tamil, the director has chosen the same premise which explored the various layers of human emotions, adhering largely to the original.

Vaanam follows a multi narrative format, which is fairly new to Tamil cinema. The product is about how the lives of five completely unrelated individuals from different places converge at one point cascading in a transformation of their persona and the ensuing corollary. The refreshing factor about Vaanam is it has eschewed the standard DNA of commercial flicks and Krish’s authority on the narrative comes to the fore with this delectably mounted product that tugs at your heart strings.

The characters in Vaanam are very ordinary, relatable mortals with their respective grey shades. Krish has not attempted to aggrandize them and they stand before you immaculately unornamented with their blemishes. STR as cable Raju, Bharath the rock star, Anushka the commercial sex worker, Saranya the helpless mom of an abducted son and Prakash Raj on the look out for his lost brother are the axles around which Vaanam hinges.

The screenplay is intelligently woven around these characters and Krish builds his narration in a neat pattern not losing steam or our attention anywhere. Although dialogues by Giri provide a significant value, it dazzles when Anushka insulted by policeman Radha Ravi says “we sell our souls unrobed but you guys do that with all your robes on” (naanga thuni avuthu velai porom, neenga thuniyoda velai poreenga) or when she jocularly says that while for other jobs, experience is a big plus but in flesh trade, it is just the reverse. Giri’s caliber as an effective dialogue writer is revealed when STR in a choked voice states that truth needs courage and lies do not. And mind you, Vaanam is replete with such gems.

All the artists have performed well and have equal screen presence. But the finest moments, of course, belong primarily to STR who reiterates that at the hands of a good script and a director, he can walk away with all the acting honors. The testimony to this is the scene when he snatches the money bag from Saranya and the vicissitude of emotions that play on his face that toggles between greed and conscience. And the scene at the police station when Anushka wonders if his love was true, the profound expression on his face is noteworthy.

Anushka, the foul mouthed sex worker oozing oodles of oomph meets the sensual demands of her character but sans vulgarity brings tears while pleading to the doctor to save her friend saying that she is ready to sleep with him innumerable times. Bharath delivers a subdued performance and Prakash Raj is his usual best. While Vega, Soniya and Jasmine are adequate, Saranya, Santhanam and VTV Ganesh have delivered a natural and neat portrayal. The scenes with VTV Ganesh are enjoyable and when he talks about standing in front of director Shankar’s house with Rahman as company is hilarious. Santhanam as STR’s friend is his perfect humorous foil. Anushka’s transgender friend Karpuram and Saranya’s father-in-law are impressive.

Under Yuvan Shankar Raja’s music, the opening song ‘Who am I’ showcases Bharath’s dancing skills which is youthful and peppy. The latest youth anthem ‘Evandi Onna Pethan’ is well picturized and STR’s adeptness with his feet and Nirav Shah’s brilliant camera work in the number are noticeable. Although ‘No money no honey’ is enjoyable, it does not add value to the film’s progress in any way.

Nirav Shah’s cinematography is appreciable and the angles and lighting sensibilities up the production value of the film. The different type of lighting at the lodge is just an example. With his tight frame composition, Editor Anthony is impressive.

Even though Vaanam is alluring in most aspects and travels linearly on the attempted track, the cinematic feel of the climax is a placid wart. The track ‘No money no honey’ is apparently forced and brings down the tempo of the film.

Director Krish makes his impactful debut with a different narrative format that holds the attention of the audience. Vaanam is succulent with diverse complex human emotions from deceit to greed to rage to remorse. The film has a plot that can find patrons among wider variety of audience as the theme of humanity is much a catholic one that transcends barriers.

Verdict: An intelligent fare with substance

Courtesy : behindwoods

Movie Review Simbu Vaanam Tamil, Tamil Movie Review

Movie Review Shor In The City

For a nation of a gazillion English readers, where 3,000 copies of a book sold is deemed a bestseller, pirates who publish the same books to hawk around the city’s traffic junctions couldn’t be doing too well either. Tilak (Tushar Kapoor) is one such lower middle class publisher, if you may. He evidently loves his job. He’d like to move up in the social hierarchy, from a motorbike, to a Nano. He finds that ladder in the film’s opening scene.

Tilak, along with his two best buddies, both 'chindi chors' (small-time thieves: Nikhil Dwivedi, Pitobash Tripathi) break into a celebrated author’s Mercedes Benz. They demand the writer to pass them on the manuscript of his next, much awaited novel. Tilak intends to sell that book on the streets, even before it makes it to bookstores. The author, at gunpoint, agrees. His name, by the way, is Chetan Gandhi.

This goofiness, for lack of a better word, is very Guy Ritchie. The tone gets immediately set. Soon after, the three boys get into a suburban train; steal a passenger’s bag. Their booty, it turns out, consists of hardcore ammunitions. Though the guns don’t quite look like AK 47 or AK 56, which is the ongoing debate, they’re Kalashnikovs all right. And there’s a bomb in there too.

The richly textured pic pretty much plays out like a stream of consciousness. Anything presumably can happen in a so-called happening city. Mumbai is the indisputable protagonist. Its pulse gets read reasonably well. Camera ably captures the strolling metropolis, right from the vast stretch of snogging lovers off Bandra flyover, to the craziness of an orchestra bar, or tourist trappers on Colaba’s flea market causeway.

It’s the sort of exhausting experience visitors from abroad often politely call “overwhelming”. Sendhil Ramamurthy plays one such expatriate. He’s returned to India to become a small-time entrepreneur. As anyone in that corruptibly precarious position would tell you, either the goons will get him, or the government or some other power-tripping authorities will. It’s the former in his case. It’s the latter for another gent - a young local boy - who must bribe his selector to make it to the cricket team.

Somehow the separate stories of Tilak and everyone else (all of them inspiringly cast) intertwine over Ganesh Chaturthi: a noisy ten-day festival which itself was popularised in Mumbai by another Tilak (Bal Gangadhar, back in the late 1800s). Ganesh visarjan in Mumbai is without doubt the world's largest open-air party to annually take up every nook and cranny of a city’s streets. It could be a public nuisance if you’re not the willing participant. Cops are on high alert. But that’s something you wouldn’t figure if you saw what these fellows in the film are up to on that day.

What you do notice about this quintessentially metropolis movie is its sheer spunk, verve and adorably absurd humour. It belongs to two low-profile directors (Raj Nidimoru, Krishna DK) whose last film (99) went unnoticed because apparently audiences were busy following the IPL tournament on TV. They bring to the edit table the sort of spirit that embodied the best of British independent cinema in the ‘90s (Full Monty, Trainspotting etc). Which also defined the early works of two other fine filmmakers who, like them, made that precious move from Andhra to Andheri (Nagesh Kukunoor, Ram Gopal Varma).

Shor, or constant noise, is clearly the irrepressible energy of the Mumbai air. Was Suketu Mehta’s stupendous Maximum City a film, it’d come close to this. No prizes for guessing, pirate Tilak is really fond of Paulo Coelho’s Alchemist!

Shor In The City
Director: Raj Nidimoru, Krishna DK
Actors: Sendhil Ramamurthy, Tushar Kapoor
Rating: ***1/2

Movie Review Nenu Naa Rakshasi 2011

Puri Jagannath is back after Golimaar. He attracted the attention of the audience with the title ‘Nenu Na Rakshasi’. The term Rakshasi was assumed to be an adamant lover by majority audience. Knowing the genre where Puri is comfortable, the audience has piled some expectations on the film. Let us see if this has met the expectations.

Story : The movie starts with Ileana committing suicide by hanging herself to death.

Abhi (Rana) is a professional shooter. Meenakshi (Ileana) is a cute girl who works in a coffee shop. She has the typical hobby of shooting the real suicides and upload in youtube.

The reason for Abhi becoming a shooter is the deaths of his parents in the hands of a cruel gangster named Rathna (Abhimanyu Singh). And the reason for Meenakshi to record the suicides in video is similar to that of Abhi.

An inspector (Subbaraju) investigates into this anonymous up loader of videos. He has a little daughter who gets close to Abhi, being neighbor. This little girl delivers a few punch dialogues which are true and to be underlined.

Abhi falls in Meenakshi’s love. With the series of happenings, who remains at last will form the rest of the story. Who commits suicide? Is the lady who committed suicide in the beginning is Meenakshi? What happens to Abhi? What happens to the little girl? To know answers, watch on big screen.

Performances:
Rana’s looks are matchless and needless to say again and again indeed. But he has to groom his energy levels in acting, expressions and gait. There is no other way than gaining experience in doing films continuously. He has no dancing material in him and that is not a minus point at all for an actor. He can stand as great actor even though not a good dancer. All that he has to do is gaining confidence and showing energy levels in his trade mark style.

Ileana is ok with her hour glass figure but she is remembered as a rough minded lady in this film than as a Cupid’s arrow.

Subbaraju is perfect as Cop but he has minimal role.

Mumaith Khan appears in a special role like a vamp but preaches the materialistic way of living in a song.

Ali managed to entertain audiences with his typical histrionics. Abhimanyu Singh is ok with his villainy.

Music is the plus point in this film and songs made audiences glue to seats. Background score by Anup Rubens gave a different feel for the film.

This is a higher level script that can go well only with intellectuals. Regular audiences cannot call this an entertainer.

Plus points:

* Music and songs
* Production values
* First half

Minus Points:

* Plot
* Screenplay
* Characterization
* Essence
* Second half
* Vulgar comedy

Analysis:
Both hero and heroine in this movie are shooters. While hero shoots with gun, heroine shoots with camera. While the hero shoots to kill the living, the heroine shoots to record the killing. It’s a pseudo thought tried to add a genuine color to it. The movie show cases cruelty in the disguise of reality. One needs to watch this movie with brain to understand that ‘reality’ and otherwise it sounds to be cruel.

This is the film made in the genre of filmnoir. The lead character in the film is Ileana with her cynical attitude on suicides. It is indeed difficult for Telugu audiences to digest such a character in a heroine. She neither opposes nor supports suicide but loves to shoot the individuals those commit suicide. Eerie!!!

First half of the film runs well with typical characters and takes off smooth. But the second half suffers severe turbulences and audiences start getting suffocated. Although the character introduction of heroine is shooting the real deaths, there is no convincing end for her character even with her flash back. Well, it may appeal for those minds which have undergone real suicidal tendencies and made failed attempts. What the director wants to convey is blunt and rude. There are four characters in the movie those have come out in four dimensions from the thought process of the director.

* Live as you like and keep away the concept of sin and virtue (from the character of Mumaith Khan)
* If somebody is paining you and bringing suicidal tendencies in you, make yourself strong. Don’t revolt on them and just live your life rudely (from the character of Surya)
* If you feel your accomplishments are done and there is no one personal for you, then end your life (from the character of Rana)
* Suicides are not meaningless. They have great meaning (from the character of Ileana).

This is the typical character chart and thought line incorporated in the movie on broader scale.

These ideas are indeed cynical and hypothetical. What the director is wishing by making this movie? Is he asking the Law to make Suicides legal? Is he appealing for those who are inclined to commit suicide to carry on with their act? Is he wishing to make people strong or weak?

To answer one by one, recently the Supreme Court has suggested counseling the individuals those attempt suicide but not punish them.

Coming to next question, yes, the people those are on boarder line to commit suicide will commit it for sure. They lose ray of hope in life. (Director Ji!! Please recall Sri Sri’s song ‘kala kaanidi viluvainadi..bathuku kanneeti dhaarala thone bali cheyyaku…That song pumped hope in many hearts. They have approached Sri Sri thanking for the song that brought them back from suicidal tendency)

This film will not affect the strong people. It will affect the weak hearts by weakening them further.

This will not go well with B, C centers and A center audience try to understand the essence in this movie patiently with their heads. This is a kind of art film with commercial budget. This can be sent to film festivals and big headed critical critics may say some good lines about it out of obligations! It is a risky attempt business wise.

Bottom Line : New age Vedanta filled with Vairagyam

Courtesy : DownloadsGuru
Rating: 2.75/5
Banner: Sri Lakshmi Narasimha Productions
Cast: Rana Daggubati, Ileana, Abhimanyu Singh, Subbaraju, Nagineedu, Ali, Mumaith Khan etc
Music: Rahman, Viswas, Anup Rubens
Lyrics: Rahman, Vishwas
Cinematogrpahy: Anmol Rathod
Producer: Nallamalupu Bujji
Story, Screenplay, Director: Puri Jagannath
Release Date: 29th Apr 2011

Movie Review Chalo Dilli Hindi 2011

Here’s a pleasant surprise then— a film that’s fun without being flighty; and intelligent without weighing down the viewer.The promos establish the characters adequately. You have Mihika (Lara) who’s a corporate honcho and a sophisticate – the kind who hops country to country in high heels and finishes pending work on flights. A missed flight to Delhi causes her to travel to the destination by road, picking up a companion on the way. Manu Gupta (Vinay) is the obnoxious antithesis to Mihika with a profession selling saris and “ladies dress materials” at Karol Baugh.

And the viewer enjoys the journey as they hurtle into strange situations bringing out the delicious contrast of her control-freak nature and his care-a-damn attitude. The film has the two addressing each other as bhaisahab and behenji (to rule out any romantic angle). But their relationship graph is most interesting to watch—changing dynamics at each turn.

Chalo Dilli’s plot is simple and hardly path-breaking. Steve Martin’s Planes Trains & Automobiles (1987) had a similar story, as did Due Date and Bheja Fry to an extent. The film also has you thinking back to Jab We Met a couple of times. So what gives? It’s the fun on the run, coupled with marvellous performances.

Lara Dutta surprises you with her restrained and spot-on rendering of the well-heeled sophisticate. Vinay Pathak can be accused of repeating his Bheja Fry act, but still manages to make you laugh. Pathak fashions Manu to be obnoxious and lovable at the same time. And dexterous too, especially when it comes to slipping out of difficult situations. Interestingly Vinay, known for his comedic prowess, doesn’t always steal the humorous scenes – Lara is equally adept at the funnies.

The two share a great chemistry and the film also wins for its well-rounded characterisation. At no point does the film villainize Mihika for being uppity and instead gives her a rounded humane sketch. Again the film refrains from patronizing Vinay’s character.

The dialogue (Arshad Syed) crackles with wit. Director Shashant Shah (Dasvidaniya) makes a film with a fun, breezy start, that loses steam in the second half. The area where the film flounders is the lenient editing. Repetitive conversations (especially during the latter half) go on and on and scenes are stretched. Then you have a clumsily shot item number out of nowhere, and other haywire developments.

Still for the fleshed-out characters and the winning Lara-Vinay pairing – this one’s worth a watch. Enjoy!

Rating - 4/5 - courtesy : Sify

Movie Review Fast 5 2011 Hollywood

Movie Review Fast Five (2011)
Release Date : 04/29/2011
Rating : PG-13
Runtime : 2 hr 10 mins
Genre : Action
Director : Justin Lin
Cast : Vin Diesel, Paul Walker, Jordana Brewster, Dwayne Johnson
Courtesy : Hollywood

Behold a franchise in transition. The Fast and Furious saga gained new life in 2009 with the surprising success of its relatively unheralded reboot, Fast & Furious. Two years later, its follow-up, Fast Five, arrives armed with a bigger budget and loftier ambitions, looking to break free from the narrative constraints of its familiar street-racing niche and blaze a fresh trail for future installments. Because why limit yourself to cars, when there are tons of other super-cool, wildly expensive items to blow up?

Fast Five’s story picks up immediately after the events of the previous film, with ex-FBI agent Brian O’Conner (genial surfer-dude Paul Walker) and his girlfriend Mia (the beautiful but oddly vanilla Jordana Brewster) breaking her scofflaw brother Dom Toretto (mumbly, musclebound Vin Diesel) out of federal custody, then fleeing to Rio de Janeiro. Cash-strapped after months on the run, they accept an offer to help hijack a train carrying a cache of exotic sports cars (naturally). But the job goes awry, a massive shootout ensues, and Dom and Brian find themselves not only marked for death by Rio’s reigning kingpin, Reyes (Joaquim de Almeida, legendary portrayer of Latin villains), but wanted by U.S. authorities for the murder of several DEA agents.

Train-robbery fireworks notwithstanding, Fast Five sputters a bit out of the gate, never really hitting high-gear until about the 45-minute mark, when the boys, employing that special brand of dubious reasoning peculiar to heroes of American action films, hatch an idea to steal $100 million from Reyes, the same scoundrel currently seeking their heads. At this point, Fast Five adopts the standard template of a contemporary heist flick, a la The Italian Job remake and the Ocean’s series: A multi-ethnic team of top-class specialists is assembled (a handy excuse to bring back franchise veterans like Tyrese Gibson, Chris “Ludacris” Bridges, and Sung Kang), and a plan just crazy enough to work is formulated.

Credit Fast Five director Justin Lin with learning a few lessons from the last film, the most salient being that a spectacle this outrageous needs a healthy dose of levity to make its potent summer-movie brew go down smooth. Fast Five has a sense of humor that its needlessly morose predecessor sorely missed, thanks in large part to comic contributions from Gibson, Bridges, and the wacky reggaeton duo of Tego Calderon and Don Omar. And the spectacle is indeed outrageous. Lin bombards us with one gloriously absurd set piece after another, with seemingly little regard for whether the action is germane to the plot or even visually coherent. Alas, logic and coherence are not the priority here; awesomeness is. And if the price of awesomeness is glaring plot holes, underdeveloped characters, and occasional moments of abject confusion, then so be it.

Indeed, some sequences are entirely superfluous, as when the gang steals four cop cars from the local police headquarters (thefts of large, easily recognized and traceable objects being surprisingly easy in Rio) and then decides to race them in an impromptu urban grand prix, because what the hell. Lucky for them, the streets of Rio, a city of 12 million people, are apparently completely deserted at night. There’s nary a pedestrian nor another car around to get in the way of the fun, or bear witness to it, for that matter.

Fast Five’s main plot turns out to be something of a bust. Far more entertaining is a subplot involving the rivalry that emerges between Diesel and Dwayne “The Rock” Johnson, who plays Luke Hobbs, a brash and boisterous federal agent sent south to bring fugitive Dom back stateside. Pumped up to his former WWE proportions and wearing a thick, vaguely sinister goatee (presumably to help differentiate him from the cast’s other gargantuan, bald, mixed-race actor of limited range) Johnson engages Diesel in a gleefully overblown (yet tonally consistent with the rest of the film) dick-measuring contest. Their scenes together crackle with combustible machismo, not to mention a sexual tension conspicuously absent from Diesel’s interactions with his designated love interest, a Brazilian cop played by Elsa Pataky.

The odd man out in the ensemble turns out to be the franchise's old hand, Walker. Over the course of the film one gets the palpable sense that Diesel, who also served as a producer on the film, is gently edging out Walker in favor of a more worthy sparring partner in the guise of Johnson, an actor whose larger-than-life charisma is more suitable to Diesel's ambitions for future installments of the franchise, the foundations of which are very deliberately laid out in Fast Five's extended denouement. I'd be surprised if Walker plays more than a minor supporting role in Fast & Furious 6. Judging from his lackluster presence in this film, I suspect he won't be all that missed.

Movie Review Zokkomon Hindi 2011

Sonia Chopra

Something’s missing from children’s films these days – one film has a song where kids are dressed like cheerleaders, several Hollywood animations have romance as their central theme, others take the super-boring mythological trip.

Which is why Zokkomon is relevant – here’s a film that’s sweet, funny, innocent and most importantly, talks to the kids eye-to-eye.

Kunal (Darsheel Safary) is recently orphaned after his parents die in a tragic accident. He’s packed off to Jhun Jhun village run by his evil chacha (Anupam Kher). So it’s a living hell for Kunal as he puts up with his relatives who are greedy for his inherited wealth, and going to a school where the teachers are just as cruel.

When Kunal finds himself abandoned, he finds comfort in an effervescent stranger who saves him from a bunch of goons. Kittu didi (Manjari Fadnis) as he fondly calls her introduces him to her mad life. Living in malls, museums and currently in a film costume godown – Kittu makes for a lovable character who has no fixed address.

The villagers attribute Kunal’s disappearance to evil spirits, and Kunal decides to teach the villagers and his relatives a lesson. Teaming up with a grumpy scientist, Kunal becomes the all-powerful Zokkomon.

The film is an easy, breezy watch but is deeper than your normal fluff in the name of children’s films. There are some nice dialogues, an interesting premise where the protagonists use superstition to get the villagers to stop believing in it, and some great songs. The song with Kittu and Kunal in the costume godown with Javed Akhtar’s lyrics is simply superb.

No complaints on the technical front – the camerawork is highly competent, the editing efficient, and the special effects are simple and dignified. Sure, the film could’ve been funnier, the costume less awkward, the production design snazzier and so on. But considering the tripe that’s being made for children, this one, directed by newbie Satyajit Bhatkal, is a surprisingly good watch.

Darsheel Safary makes Kunal a lovable protagonist. Manjari Fadnis known for Jaane Tu...Ya Jaane Na role will remind you of Juhi Chawla in Hum Hain Rahi Pyar Ke. She pours onscreen like unadulterated sunshine, displaying unbounded charm. The other kids who make up Kunal’s gang are extremely confident. Anupam Kher makes for a fun comic-bookish villain.

So there you have it – a fun, smart children’s film that even grown-ups may enjoy. You don’t get that very often!

Rating: 3 stars

courtesy : sify

Movie Review Water for Elephants '11

Twilight star Robert Pattinson attempts again to diversify beyond the realm of teenage vampires, but nonetheless remains safely in his romantic-melodrama wheelhouse, in his new film Water for Elephants. Based on Sara Gruen’s depression-set 2006 chick-lit bestseller of the same name, it sees him once again pursuing an epic love, against which powerful forces are aligned. But on this occasion, Pattinson’s greatest adversary may be his own lack of charisma.

Pattinson plays Jacob Jankowski, the sensitive and bright only child of Polish immigrant parents who have the unfortunate timing to die in a tragic car accident just as Jacob is about to take his final veterinary exam, an exam that, he informs us via voiceover, he totally would have aced. In that same voiceover, he also informs us that he was planning to deflower the girl sitting across from him – which, when you think about it, is sort of an odd thing to announce via voiceover.

Alas, there is to be no acing or deflowering for poor Jacob. Penniless and grief-stricken, he hops aboard the nearest train, where he’s befriended by a loquacious drunken hobo and offered work with a traveling circus, first as a manure-shoveler and then, after impressing the circus’ owner and ringmaster, August (Christoph Waltz), with his intuitive knowledge of equine anatomy, as the resident veterinarian for the circus’ four-legged performers.

Complications arise for Jacob when he falls for the outfit’s star attraction, the graceful and beguiling Marlena (Reese Witherspoon), whose signature act involves performing tricks astride majestic show horses. Romantic sparks first fly between them when Jacob, seeing that Marlena’s best horse is injured and in pain, decrees that it must be put down. They decide to do the grim deed together, her singing a farewell lullaby to the steed while he puts a bullet in its head. Euthanized horses being a well-known aphrodisiac, their mutual attraction is cemented on the spot. It blossoms further with the arrival of an unruly elephant, Rosie, that they are together tasked with grooming for big-top stardom.

Unfortunately, Marlena already belongs to someone else: her husband August. “Belong” is the operative word here. Clearly bipolar and quite possibly homicidal, August rules the circus through a mixture of charm – a brusque, teutonic variety of charm – and violent intimidation. It’s also how he approaches marriage. Marlena would like to leave her mercurial husband, but fears losing her livelihood – and perhaps her life – if she runs off with Jacob.

Water for Elephants is directed by Francis Lawrence – that same Francis Lawrence of such classic cinematic love stories as I Am Legend and Constantine – who successfully infuses the film with a grand, old-fashioned quality without resorting to Nick Sparks-level sentiment. (Though he does take care to pile on various estro-centric tropes – scenes of cute suffering animals; RPattz coming to the aid of said cute suffering animals; wistful opening and closing narration by an adorably cantankerous old man; etc.) His main problem seems to be his leading man, Pattinson, who, at least in this early stage in his career, doesn’t have the screen presence to hang with Oscar-winning co-stars Witherspoon and Waltz. As a result, a film that aims for epic is for the most part inert, ambling along slowly for the better part of two hours before collapsing upon itself in a brief, gloriously overwrought finale.

Verdict Hollywood.com : Robert Pattinson underwhelms as a romantic lead in this inert big-top melodrama.

Rating : 2.5/5
Courtesy : Hollywood
Release Date: 04/22/2011
Rating : PG-13
Runtime : 2 hr
Genre : Drama
Director : Francis Lawrence
Cast : Reese Witherspoon, Robert Pattinson, Christopher Waltz

Movie Review Mr.Perfect 2011 Telugu

Vicky (Prabhas) believes that one should be oneself in a relationship and one shouldn’t change one's orientation for the sake of the partner. Vicky and Priya (Kajal Agarwal) are childhood friends and they like each other. Their parents want to marry them off. But Vicky feels that Priya is a not choice for him as she is willing to sacrifice all her comforts for him. Meanwhile, Vicky meets Maggy who has the same taste and lifestyle orientation. Both of them fall in love. The rest of the story is all about how Vicky realises that adjustment is the essence of any blissful relationship.

Prabhas has a summer-cut hairdo in this film. His haircut looks odd at the beginning, but Prabhas manages to convince it as a part of characterization as the movie progresses. He used nice branded stuff and he looks like a perfect model for them. Prabhas has done a role that is never done by him in the past and he is very good.

Kajal Agarwal is excellent as a traditional girl wearing sarees and Indian dresses most of the time. Tapsee looks different in this movie and she seems to have dubbed her own voice. Prakash Raj plays the role of a venture capitalist with fixed notions. The comedy by Brahmanandam, Master Bharat and Raghu Babu looks forced. The comedy thread of Kasi Viswanath and Sameer clicks. K Viswanath and other actors cast in a typical way.

Technical departments

Story - screenplay - direction: The story of the movie is about an independent guy realising that one should adjust in a relationship to live happily ever after. To create the conflict, the director has chosen two female characters - one lives for herself and the other one adjusts. Story line of the film is thin, but a sensible one. The story of Mr. Perfect looks like reverse-engineered from the story of Bommarillu with a characterization similar to Orange.There is no conflict point in the movie till the interval. The second half goes on a predictable lines. Karan Johar makes this kind of triangles with lot of sentiment thrown in towards climax. Dasarath who has gone sideways with his recent movies seems to have found the right producer this time. Direction by Dasarath is decent. However, the screenplay should have been innovative as the progression of the story is predictable.

Other departments: Music by Devi Sri Prasad is very good. I liked all the songs in the film except for dole dole song and last song (sent one). Background music is also good. I liked the choreography in Akasam song. Cinematography by Vijay K Chakravarthy is excellent. Cinematography of the film is aided by nice post-production (color grading and graphics) and superb locations. The locations of the movie - village locations (from Kerala) and Australian locations (Sydney Opera House and Sea Cliff Bridge, NSW) are well-captured. Art direction is very good. Dialogues by Abburi Ravi are fine. There are a few entertaining dialogues like ‘devudu sadist kaadu’ and ‘working from home’. Though fights composed by Peter Hein are good, there is no necessity for them in the story line. They were forced into the film because of Prabhas’s action image. Editing is alright. Production values by Dil Raju are of top standard as the each and every frame of the movie looks rich.

Analysis: First half of the film is okay though the conflict point is revealed only in the interval block. Second half is predictable with a sentimental climax. The plus points of the movie are casting (Prabhas, Kajal & Tapsee), production values, cinematography and music. The negative points are screenplay and handling of emotions. Dil Raju who has given trend-setting and path-breaking films like Arya and Bommarillu in the past seems to have chosen to play safe in the recent times with films like Brindavanam and Mr. Perfect. On a whole, Mr Perfect film is partly good and partly predictable.

Trade talk: This movie has started off really well as today is a national holiday (Good Friday). Producer Dil Raju sold out only few areas. The buyer of Krishna has bought this movie for 90 lacs and this movie is expected to collect 90 lac share in the first week and is poised to collect a total share of 1.5 cr in Krishna. Mr. Perfect has all the ingradients to attract youth and familes and is poised to cash the summer advantage in.

Rating : 3/5 - Good One

Review KO Tamil Movie 2011 Jiiva : Hit

Tamil Movie Review KO 2011
Starring : Jiiva, Ajmal Ameer, Karthika Nair, Piaa Bajpai, Prakash Raj
Direction : K. V. Anand
Music : Harris Jayaraj
Production : Kumar,jayaraman

Director KV Anand who was previously a photo journalist has made this film amidst high expectations and with extreme care. It has every ingredient of an entertainer - a juicy premise, a good star cast, foot tapping music and of course interesting foreign locations and the director’s love for making stylish and flamboyant films.

Ko is the story of the entwined lives of an adventurous, honest, astute photo journalist Ashwin (Jiiva) and an aspiring young politician Vasanthan (Ajmal). Renu (Karthika) and Saro (Piaa Bajpai) are Ashwin’s colleagues and fellow journalists who also get sucked into Vasanthan’s political aspirations and election campaigns. Does Vasanthan achieve his goal? What does he do to achieve them? Ko answers these questions.

The director has aptly mixed intelligent and commercial cinema in Ko. The film making is nearly flawless and excels in places where he brings in slice of life incidents to invoke humor. The way the photo editor always finds a fault with Ashwin’s pictures despite them being good is an example. The events that hold the film together are fresh and albeit a straight forward story, it offers some interesting twists and turns that makes the audience eager for more. Another commendable aspect is that both the heroines actually have a role to play and are not mere glam dolls.

Jiiva as Ashwin once again proves that he is a versatile actor. The body language and obsession of a photographer to click pictures are brought out well by Jiiva and we wonder if anyone else would have done this role as well as he has. Among the others in the lead cast it is Piaa with her comic timing who scores a tad higher than Karthika and Ajmal. Her small yet meaty role gives her scope and she has a good screen presence. She shows her prowess in the scene where she gets emotional knowing Ashwin loves Renu and not her. Karthika has very expressive eyes and looks good in saree but her costumes in the song sequences could have been better. Ajmal is a perfect choice to play an aspiring politician - his looks, build and dialogue delivery elevates the character he plays.

Special mention to Bose Venkat who makes a huge impact with his acting and proves that one doesn’t need big roles to make a mark. He shines in the scene where he makes some revelations to Jiiva. He mouths strong and sensible dialogues that will evoke applause from the audience. All these five actors have managed to overshadow the performances of seasoned artists like Kotta Srinivasa Rao and Prakashraj. Jagan who plays the role of Ajmal’s friend has a mix of humor and seriousness in his dialogues that makes us think and laugh at the same time.

Dialogues are one of the strong points in the film. Songs which are already chartbusters have been picturised well and are a feast for the eyes and the ears. Yennamo Yedho, Amali Thumali and Venpaniya are visual treats from cinematographer Richard. Surprisingly, Aga Naga which features several celebrities like Tamannah, ‘Jeyam’ Ravi, Harris Jeyaraj etc doesn’t live up to the hype it garnered. The special phantom camera used in the climax is a good effort and Peter Hein’s stunt together makes it more gripping. Art direction in the opening bank heist, set in backdrops of a hotel in Pondicherry, needs a special mention. Colourful and insightful photographs that make an appearance as the credits are dished out is creative.

On the downside, the narration of the film is a bit slow and at times has songs cutting into the interesting narrative, making the audience impatient for the scenes to resume. The Venpaniye song in the second half of the film is misplaced and is an example for what is said above. The movie spans for over 2 hours and 45 minutes which might also prove to be a dampener, though there are no scenes in the film that is unimportant. Cinematic liberties are allowed but the director has slightly overdone it. The very beginning where Jiiva does somersaults in his bike to capture photos is an overdose of cinematic liberty.

The most admirable aspect is the fact that despite the slumps in narration, the film manages to engage and has us hooked to the proceedings from the word go and carries us to an interesting and intelligent climax. The twist in climax is the biggest plus. Overall, Ko impresses, entertains and is likely to click with all kinds of audience.

Verdict: A stylish commercial entertainer! - Rating : 4/5

courtesy ; behindwoods

Movie Review Dum Maaro Dum 2011

Film : DUM MARO DUM REVIEW 2011
Rating: 3/5
Banners: Ramesh Sippy Entertainment, Fox Star Studios
Cast: Abhishek Bachchan, Aditya Pancholi, Bipasha Basu, Rana Daggubati, Prateik Babbar, Gantois Gomes, Govind Namdeo, Deepika Padukone, Anaitha Nair, Mariah Pucu, Bugs Bhargava, Gulshan Devaiya, Muzammil S. Qureshi
Music: Pritam Chakraborty
Cinematography: Amit Roy
Director: Rohan Sippy
Producer: Ramesh Sippy
Release Date: April 22, 2011

Story:
The city of Goa is affected with the strong presence of drug network, drug dealers, gangs and mafia. The time comes to put an end to it and ACP Vishnu Kamath (abhishek) is called to do the job. The key persons responsible for this drug menace are Michael Mambossa whom no one has seen and Biscuit (aditya), a so-called society noble. Vishnu starts his clean up mission and in this process, he catches Lorry (prateik), a student carrying drugs. This brings in DJ Joky (rana) who is convinced of Lorry's innocence. What follows from there is the cat and mouse game between Vishnu and Biscuit while Joky takes the help of his girlfriend Zoe (bipasha) to help Lorry. What happens from there forms the rest of the story.

Presentation:
The director has come up with an interesting storyline and while the presentation was stylish, the narrative was adequate. The dialogues were riveting, the script was written without much flaws and the screenplay was neat. Background score was impressive and three songs were the highlight. Cinematography was top notch. Editing was crisp but it was needed during the second half. Costumes were natural while the art department was matching the situations and looked apt. Abhishek Bachchan carried out his role with elegance and does his job well. Daggubati Rana is a surprise package but he scores well in looks department while he should work on expressions. Bipasha fills the glamour quotient, Vidya and Deepika do decent cameos, Prateik was impact creating, Aditya Pancholi was nice, Govind Namdeo was to the point. The others did their bit as required and added value.

Conclusion:
The film runs on the backdrop of drugs and the network of this cartel. While the first half goes breezily with the right pace, it also creates good promising second half. However, the second half gets hit as focus is on dragged melodrama and unwanted scenes. The film has been made with a sincere and noble intention and the presentation was also rich but it is the content and the conviction in few critical scenes which was missing. At the box office, this could be an average grosser but word of mouth publicity is required.

Bharatstudent Verdict: One time watcher
Sonia Chopra

When was the last time you holidayed in Goa -strolled along the beaches, soaked review: up the sun, got drunk on Feni? Nope, this ain't the Goa from your last holiday.
The Goa in Dum Maaro Dum is ugly and replete with the drug mafia calling the shots.

It's a place where foreign tourists run the drug business, enlisting help from the locals. One such “recruitment” is Lorry (Prateik) desperate for a few extra bucks and a ticket out of India. His background isn't clearly established - especially his family that is represented through a few women always ready to sing and dance but who're not given a single dialogue.

The names of the characters (an important aspect of characterisation) are 'filmy', no one has a 'real name' - the good guys are called Lorry, Joki, and Zoe, the cop's name is Kamat, and the villains are Lorsa Biscuita and Michael Barbosa.

Yup Barbosa's running the whole show, but remains elusive and mysterious. Kamat is the cop gunning after Goa's drug web, and his determination is explained though a backstory. So now he has to find Barbosa. The premise is set; the action begins.

Kamat enlists the assistance of two trusted aides, and the trio starts the work of wiping out Goa's drug-fuelled underbelly. Meanwhile Kamat also finds time to sing a smartly-worded song. That's the thing with the film - here a song, there a song, everywhere a song song!

Deepika's Dum Maaro Dum, you will wait for with trepidation. The bland, tasteless remix of the iconic Dum Maaro Dum song will have you immediately uncomfortable; the (too many) close-ups of Deepika working the short skirt might comfort some. When it's finally over, the film moves into the finale.

The unearthing of Barbosa's mystery isn't going to get anyone a standing ovation. But the finale isn't half-bad either.

Director Rohan Sippy (Bluffmaster) obviously believes that the Indian audience is a sucker for emotion, and so injects a dose whenever he can (reminiscent of '80s style filmmaking). Sippy insists on visions of dead people in white making an appearance, smiling beatifically. These attempts at adding an 'emotional element' are incongruous with the vibe of the film, and are simply imposed upon the viewer.

Also strangely, while the narrative has each character introduce themselves in the beginning, there is no such continuity towards the end.

Amit Roy's cinematography and the snappy editing by Aarif Shaikh (barring the lag in the second half) are fun. However Sippy tries too hard to make each frame style- heavy and the effort shows.

Dialogue is a mixed bag-there are nice lines and some puzzling ones. For example, there are lines with a pun delivered by the character as it the pun was unintended - “Ye air-hostess ban na chahti hai, par take off nahin ho raha hai.” Then there is a spin on the popular bangla-gaadi-maa dialogue where the word 'maa' is punned upon, but it appears at the most inappropriate time (the character who writes this dialogue has his life in danger and would hardly be making jokes). If the attempt was at edgy black humour, it's lost on the viewer.

Performances remain the highlight. Abhishek Bachchan has the cool cop number down pat and reiterates his Dhoom act with the same sluggish charm and earnestness. Bipasha Basu gives a fair performance. Prateik is a treat though he overdoes the cowardly act. Govind Namdeo is superb and leaves a mark. Aditya Pancholi makes for a weak villain; dapper but not really exciting. Rana Dugabatti is alright.

Goa, as its crime rate proves, is a place that's only superficially serene. In that context, the Goa government can hardly raise an objection about an unfair portrayal of the state.

Dum Maaro Dum is worth a watch for the peek into the seamier side of Goa; but expecting anything other than Bollywood style thrills and chases will leave you disappointed.

Verdict : 2.5 stars

Review Murali Meets Meera Kannada

The dejected youth Murali (Prajwal Devaraj) finds a strange personality Meera (Reema Vora). Murali was deceived in love by Shwetha (Harshika Poonacha). He is moving with a rat poison in his pocket. Meera on the bike of Murali as a pillion becomes a partner in life after a long tale narration.

Murali explain his woes in life and becomes very close to Meera. He proposes to Meera on one dark chilly night in her pent house. That is the explanation of another tale of woes from Meera now.

Meera is a prostitute by force in her life. She was in love with a youngster in college days and she is dropped in the wrong routes. For earning and living she takes to alcohol and good in heart. After knowing the past of Meera the disenchanted youth prefers to be the life partner.

Analysis:

The narration in the slow and steady style of director Mahesh Rao takes us to the seventies. He has used the flash back technique. A clean way of narration is the winning point of this director. There is no vulgarity and obscene elements in the film.

The narration pace is lengthy. This kind of film is best suited in small screen with 15 to 20 episodes. The first half is as usual boring with not much of developments. There is no liveliness required for this film.

The role is not adequate to the image of Prajwal Devaraj. The crying and pathetic look is not expected from him. The director Mahesh Rao has limited characters on the screen and he moves around mainly in three performers. He brings in the relations in his dialogues.

This is dragging on the one side and the only suspense is the Meera role explaining her past at the end of the film.

Performances:

Prajwal Devaraj has made a mistake once again by accepting a weak subject. The usual strength of Prajwal Devaraj has not come out here in ‘Murali Meets Meera’. He looks poised in most of the scenes.

Giving wide looks and expressing via eyes Reema Vora is partially convincing. Her trump card is her eyes. The dubbing for Reema Vora is very casual. Harshika Poonacha has given good expressions but her stay is very limited.

It is a cake walk for comedy actors Sharan and Sadhu Kokila.

Technicality:

‘Murali Meets Meera’ has lot of darkness and it is purposeful because the two characters – Prajwal Devaraj and Reema Vora characters are in dark patch of life. So cameraman Jain Anand has given the darkness in his camera work.

Music director Abhiman Roy has given prominence to melody. Nee Naanadhe Naa…Ninna Mukha Nodi Suprabhata…and sorrow song Onde Ondhu Hejje Jeeva Matanadalu…are good ones.

Last But Not Least: ‘Life is important than love’
Courtesy : SuperGoodMovies
Rating: 3/5
Banner: Saraswathi Entertainers
Cast: Prajwal Devaraj, Reema Vora, Harshika Poonacha, Sadhu Kokila, Sharan, Girish and others.
Music: Abhiman Roy
Cinematography: Jai Anand
Producer: Yogish Hunsur
Story, Screenplay and Direction: Mahesh Rao

Movie Review Double Decker Kannada

‘Double Decker’ is the story of husband Paramesh (Jaggesh) caught between two wives – Parvathi (Shradda Arya) and Ganga (Siya Gautam). In his village Paramesh is forced on his mother insistence to marry Ganga and in city the story writer in films Paramesh is in love with Parvathi. This is a remake of Hindi film Govinda starring ‘Sandwich’!

Paramesh marrying two is referred as ‘Double Decker’ – that is the usual wit of all Jaggesh films. What is interesting is that Paramesh does not reveal to Parvathi and Ganga his secret. It is only when the two wives deliver male kids and they grow up the suspicion develops strong.

At the interval point another person looks like Paramesh appears for more confusion. The affluent Parvathi is my wife declares the intruder who looks like Paramesh. The police investigating it clears that the intruder is a fake. He is none other than Prahallad with the help of dermatologist and voice expert.

The purpose of Prahallad coming on the scene is to usurp the huge property of Parvathi. He is on a mission of his cruel father (played by Avinash) and his accountant Manishanker (Aravind). For the shady deals of tormentors even the police also join hand for a huge ransom.

It is time for actual Paramesh to bring it to the notice of his two wives the facts. Actual Paramesh pays from the same coin to the tormentors. It is at the climax fight the wrong doers are detected.

ANALYSIS: In Kannada similar stories have come with some more changes. ‘Gadbidi Ganda’ and ‘Naanu Nan Hendthiru’ are example of similar tracks.

In this ‘Double Decker’ Jaggesh and his team of artists manage the show in a convincing style of what Hindi actor Govinda had done in ‘Sandwich’.

This is not updated and it is a carbon copy. Director Vasu has not used the brain to prune the film and make it crisp.

The pattern of narration and songs coming in between are all expected and there are no surprising factors. The film ‘Double Decker’ of course has the rich production values and lavishly made. The locations are good and art direction has contributed well.

PERFORMANCE: Comedy hero Jaggesh has given his best. He has very good responsibility to carry out the film on his shoulders. Jaggesh does not disappoint his fans. The dialogue delivery, dance and his usual looks are good again. There are not much of double meaning dialogues. At one place the reference is made to Motamma (the prominent Congress I leader in the state).

The dubbing for both the first timers – Siya Gautham and Shradda Arya has worked out well. Siya Gautham has more emotions and looks bit fat on the screen. Shradda Arya in the close ups looks bad. She is a long shot heroine.

The twins - Ganapahi and Subramanya delivered good results and this is a first time the child actors have provided good support.

Once again Avinash and Shobaraj are fine. Satyabama over acts, Tennis Krishna, Chidanand and Sadhu Kokila have given good support in the comedy department.

TECHNICALITY: Purandar Jaipal in his debut has given three lovely tunes and the lyrics are also good in two songs. Kanase Kanase Nanna Saviganase…Thunta Thunta Hai Thunta are very good ones.

No complaints from veteran and talented PKH Doss. Every frame looks colorful and outdoor locations have come out well in Doss. He is the boss of cinematography.

LAST BUT NOT THE LEAST: ‘Two wives nothing but having two sharp knives in your pocket’!

FUN FILLED ‘DOUBLE DECKER’ : Score 3/5
COURTESY : SuperGoodMovies
BANNER: Sri Lakshmi Narasimha Cine Productions
TITLE: Double Decker
CAST: Jaggesh, Shradda Arya, Siya Gautam, Avinash, Shobaraj, Aravind, Junith Gowda, Chidanand, Tennis Krishna, Satyabhama and others
CINEMATOGRAPHY: PKH Doss
MUSIC: Purandar Jaipal
PRODUCERS: Srinivasan, Smt Parimala Jaggesh and Farzana Khan
DIRECTOR: Vasu

Review The Greatest Movie Ever Sold

Sometimes, we line up to see documentaries at the local independent theater because it offers a look at a world we weren’t aware of or explains larger problems we can’t quite grasp on our own. Other times – and it’s okay, be honest – we go to see them because they give further detail about ideas we’re aware of and they bolster the opinions we already hold pretty strongly. And if it’s a Morgan Spurlock film, we’re going to the theater to laugh a bit, too. Pom Wonderful Presents The Greatest Movie Ever Sold falls into the category of films that reinforce our ideas, but to be fair, that’s kind of Spurlock’s schtick. He tends to dissect the issues we already know are plaguing us, but the great thing about his approach is that he never takes the expected route and always manages to produce something entertaining.

Courtesy : Hollywood

With his latest film we see Spurlock’s most creative, almost stupidly ambitious project to date: a documentary about the war between art and advertising in modern cinema shown through the lens of a man who’s financing said documentary completely through advertising. He literally breaks down the world he attempts to expose by breaking into it. Like I said, this is incredibly ambitious. Luckily for Spurlock, it works.

The film takes us through the process of getting sponsors for The Greatest Movie Ever Sold – we’re a fly on the wall in many a marketing meeting – and often getting turned down by big name companies (some of whom endure some mild vilification). Once he gets his list of sponsors together, he begins to explore more deeply the effect of marketing on consumers and on film itself, sitting down with many well-known Hollywood directors in order to sort out how much product placement is too much. This addition is short but one of the most intriguing bits; it’s interesting to see where some of Hollywood’s biggest names actually stand when it comes to shameless whoring –err product placement. A few of these guys are a little more candid than you might expect.

Throughout Spurlock’s research we also see the actual genesis of The Greatest Movie Ever Sold as we watch The Greatest Movie Ever Sold. So meta, right? We see marketing campaigns, poster designs, late night talk show interviews, really everything that leads up to releasing any major film, but we see it alongside constant blatant references to the reality of the marketing game. The film actually brings the audience into the film in a way they’d probably never imagine by delivering an incredibly circular experience. Viewers become part of Spurlock’s great experiment by supporting it and devoting their time and money to sit in the theater and watch the film itself; that accomplishment is the element that really makes it enjoyable. That’s right, it’s a documentary that’s actually fun. That being said, he overextends his reach for a two hour film here and there, dabbling in the music industry’s similar battle with cross-promotion and advertising and public schools' issues as well, but it’s not terribly distracting and adds context so we can forgive him there.

Of course, the fun element of Greatest Movie is largely attributed to the typical Spurlockian brand of goofball humor and his particular brand of self-deprecation laced with an underlying smugness. It’s kind of like that idea of a spoonful of sugar to help the medicine go down. The prospect of marketing dominating art is a disconcerting one, but instead of ringing the death knell of “real art” or using ominous music to scare the hell out of us, Spurlock takes us on a hilarious journey through the weird and murky waters of advertising in film and for the most part, gives us room to form, expand, or keep completely intact our own staunch opinions.

Verdict and Rating : 4/5 - "With his latest film we see [director] Spurlock’s most creative, almost stupidly ambitious project to date." Turning dorky and dry into hilarious and hip. Spill's reviews are high-quality animated videos featuring a regular cast of comic personalities.


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Salman Khan Bodyguard Photos 2011

Banner : Reel Life Production Pvt Ltd
Status : Release Date of 31st August
Genre : Action / Romance
Producer : Atul Agnihotri
Executive Producer / Co-Producer : Nikhil Namit
Director : Siddique
Star Cast : Salman Khan, Kareena Kapoor, Mahesh Manjrekar
Cassettes and CD's on : T-Series
Music Director : Pritam Chakraborty

After sporting chic Western attire for her role as a hairstylist in Karan Johar's Short Term Shaadi, Kareena Kapoor will go ethnic for Atul Agnihotri's Bodyguard.

She plays a don's beti in the latter and will mostly Indian traditional clothes including bright kurtas with lots of oxidised jewellery. Bodyguard, directed by Siddique, is an adaptation of a hit Malayalam flick.

Bebo has been styled by Manish Malhotra for both films. Says a source, "MM has given her a very different look in Bodyguard, as she plays a college-going girl who is also a don's daughter.

So she wears bright and colourful Pakistani long kurtas with block print salwars. Kareena is known to be a fashion icon having started the Geet kurtis in Jab We Met.

This will start a new trend for youngsters too of long Pakistani kurtas with high slits and big ghera salwars."

The Kapoor gal will accessorise with silver antique oxidised jewellery, beaded bags and accessories. "There are lots of metallic and thread work bangles to add an Indian touch.

Manish sourced the accessories from Pune, Delhi and Mumbai. Most of the outfits, she will wear, have an embroidered patch with crochet and threadwork.

Kareena has kept her hair long, straight and simple in the film, " adds the source.

INSPIRATION

The original Malayalam flick revolves around a young man Jayakrishnan who adulates anyone with a trace of heroism and offers to be their bodyguard.

A business tycoon Ashokan hires him to follow and safeguard his only daughter Ammu. He follows her everywhere.

To distract him, she calls him from an unknown number claiming to love him. Years later, Jayakrishnan realises that his real lover is Ammu, who's waited for him for so many years faithfully and marries her.

Salman Khan has been in Pune for the last one month, shooting for Bodyguard. Produced by Atul Agnihotri, it is a remake of a Malayalam film. Siddique, who directed the original, will helm the remake as well.

The original featured Dileep and Nayanthara in the lead roles. The Hindi version has Salman Khan and Kareena Kapoor playing the parts.

Bebo plays a don's daughter while Sallu plays a bodyguard who falls in love with her.

A source reveals, "Khan will be dressed in a uniform for most of the film. His character is stern and his look has been designed keeping that in mind."

He will also be seen in lot of formal wear. "His character wears formal shirts and trousers. There are songs where he's seen in t-shirts and jackets, but for most of the film, he will be formally dressed."

What's Bodyguard about?

Salman's character has a very strange habit; he adulates anyone with a trace of heroism. Whenever he develops an admiration towards a person, he prefers to move with that person as a sort of bodyguard.

He starts admiring a former liquor tycoon. He wants to be his bodyguard, and finally he succeeds in getting a job to protect the baron's daughter (Kareena). The two fall in love and things take a turn for the worse.

Courtesy: Mid-Day.com

Review Doubles Malayalam Movie 2011

What will happen when a director is all in awe of his hero, a way too much and tries to deify him in every possible shot? It works at times when the character demands such stuff, but in Doubles, it looks simply ridiculous.

Giri (Mammootty) and his twin sister Gouri (Nadia Moidu) runs an accident rescue unit in Pondicherry. The siblings have decided not to get married as they don’t want their affection to be shared with others. But the equations suddenly changes when a young girl named Saira Banu (Taapsee) becomes part of their life, after an accident.

The story goes through several topsy-turvy twists from then on, most of which are surprisingly inane. Misunderstandings, fights, comedy and of course, silly looking villains who talks big are all added into the narrative, quite generously. But all these can’t help a poorly written film that moves along aimlessly, most of the time.

Debutant director Sohan Seenulal has churned out a boring saga that defies logic most of the times. Most of the scenes look unconvincing and certain comic situations which involve Mammootty as well will make you cringe. It is quite amazing that no one associated with it realized that the script (written by Sachi - Sethu) was such a meaningless farce, while planning the film or even while making it!

Mammootty looks good (if you are ready to forget his rather ordinary looking wig) and tries his best, but this is one role which he can’t salvage even with his charm. Nadia Moidu, who returns to Malayalam films after a long break, has perhaps erred in choosing the right film to make her comeback, special. Taapsee, who played Dhanush’s heroine in the Tamil film Aadukalam, has nothing much to do and is seriously too young to play Mammootty’s pair.

The comic department takes things from bad to worse, with Suraj Venjaramoodu, Salim Kumar, Bijukkuttan and Anoop Chandran trying every trick in the book to generate laughs but falling flat in the process. Y Gee Mahendran, Anandraj, Suresh, Avinash and Saiju Kurup have done their roles in a fine way. P Sukumar’s visuals and James Vasanthan’s music are nothing to rave about.

There are no two ways about it; Doubles is a total let down. A legend like Mammootty doesn’t need roles like these to prove his heroism and we are ready to wait for more years to see Nadia Moidu comeback with that magic which she unleashed on screen in the past. This one has been a disappointment, nothing less.

Verdict : Below Average - Rating : 2/5 - Courtesy : Moviebuzz Sify

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Review 3 Thay Bhai Hindi Movie 2011

Chixie (Om Puri), Happy (Deepak Dobriyal) and Fancy Singh (Shreyas Talpade) are the three oddball brothers who would love to be left alone, having nothing to do with each other. But their grandfather's will forces them to spend time together, if they want to inherit his millions. Can the mismatched trio spend quality time with each other and re-discover shredded family ties in a desolate and decrepit bungalow in snow clad Kashmir?

Movie Review: The good news is that Bollywood is brimming over with fresh talent as more and more young film makers don the director's hat and try their skills at story telling. Their's is a young vision and a modern sensibility that tries to steer clear of formula and cliche. And even if it looks at formula, it dabbles with it differently, as was evident in Dabangg.

Teen Thay Bhai may have been produced by Rakeysh Mehra but it has been directed by first-timer Mrigdeep Singh Lamba who does show promise as a filmmaker to watch out for. Just that his first film ends up as a half-blown venture where there are too many theatrics and too many loosely edited scenes to allow the film to unfold as an uninterrupted laugh riot. Now that's sad, because in terms of characterizations, the film is riveting. Om Puri's loud, crabby, me-centric Punjabi businessman act is quite funny, specially when it comes to his attempts to get his overweight daughters married. Deepak Dobriyal as the quack dentist with the quirky hobby -- he loves to iron clothes -- is absolutely mercurial, even as his love story with village vixen, Ragini Khanna, ends up as the finest track in the film. Ragini herself makes an interesting shift from television to films with her breezy act as the boisterous Punjabi girl who loves to lie. And finally, there is Shreyas Talpade who pitches in as the third brother, a wannabe actor, inspired by Hollywood pulp. His rendition of the happy-go-lucky yokel is completely over the top and tends to get too melodramatic, here and there. But by and large, between them, the three brothers create a tantalizing trio that keeps rubbing each other off the wrong side.

The film however lacks consistency and some of the comic situations fail to evoke any humour. While the brothers try to co-exist peacefully in the ramschackled bungalow and almost end up killing each other, the drama holds your interest. But as it moves out into the wilderness, with blondes, dogs, drugs and cops, it loses track.

Watch out for the zany music track (Sukhwinder Singh and Ranjit Barot) with Mohit Chauhan and Daler Mehndi giving a lively rendition to Gulzar's funky lyrics, some arresting performances by the key players and Ashok Mehta's camerawork which creates magic with Kashmir. And yes, there's Yograj Singh making his debut in Hindi cinema as the angsty Punjabi dadaji. Yograj Singh, who? Sadda Yuvraj Singh's daddy! All this might help you tide over the intermittent yawns that threaten to cloud an otherwise smart comedy.

Courtesy : TimesOfIndia
Critic's Rating : 2/5
Cast : Om Puri, Deepak Dobriyal, Shreyas Talpade, Ragini Khanna
Direction : Mrigdeep Singh Lamba
Duration : 2 hours

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Review Dandam Dashagunam Kannada

‘Dandam Dashagunam’ is a remake of Tamil film ‘Khaka Khaka’. There is an adage in Kannada ‘Dandam Dashagunam’ – ‘if words do not work out it is beating would bring everything to order’. The Assistant Commissioner of Police Surya (Chiranjeevi Sarja) is known for toughness. Nothing is important for him in front of law and order.

Such a tough guy is bowled over to the beauty of Maaya (Ramya) a school teacher. An encounter that ACP Suriya takes up puts down the brother (Gazer Khan) of Thamate Shiva (Ravishanker).

Now Thamate Shiva and gang make counter attacks is a known factor. ACP Suriya who is intelligent too gives back very tough putting down a few of the gang members. But in the dark Thamate Shiva escapes.

It is a fight to finish. On the first night of Suriya and Maaya the rabble rouser bounces back. Suriya almost killed recoups with proper medical aid and takes revenge and releases his wife from the clutches of Thamate Shiva.

Analysis:

This Kannada version looks outdated because after ‘Khaka Khaka’ many of the cop stories have come and gone. The recent one is Kichcha Sudeep ‘Kempegowda’ that was a strong dose in fact.

While remaking the original films the director K Madesh in ‘Dandam Dashagunam’ has not updated. He has brought every frame as it is. A sharp shooter ACP Suriya from a long distance does not finish off Thamate Shiva when he is at a very short distances. Such things look stupid. There are many more to add to such stupidities.

It is because producer is ready and remake rights have been bought the film has to get ready – this seems to be the principles. For a remake of Tamil film ‘Khaka Khaka’ the relevance of it and what the other top stars have taken up, whether it is going to be unique from all is what the producer and his team should look at it.

The toughness and hardness director K Madesh has not shown from the protagonist in a convincing style. ACP Suriya combing operation in the dark time is irrelevant. There are many films in the past the intelligent planning have earned applaud from the audience.

Except taking revenge and giving back to the villains there is nothing in the film. The sentiment, comedy and lively scenes required for mass audience is missing.

ACP name is Surya in the film – a justice to the original actor Suriya of ‘Khaka Khaka’. Actress Ramya is a mathematics teacher in this film. She fought for getting the loan amount of Rs.9 lakhs from producer A Ganesh. Truly her mathematics outside the cinema has given her fruits.

Performances:

Chiranjeevi Sarja looks well set but he is not convincing as a cop. The dubbing done to his role (By Naveen Krishna) spoils half of the strength of the role. The openness in the dialogue is not there. It is underplayed role for Chiranjeevi Sarja.

Ramya wins from her fancy costumes in the songs and there is nothing much to prove her talent. Director Madesh has not properly utilized the ability of Ramya – that is because he has followed the original.

Tilak is OK and Ravishanker once again overshadow the hero whenever he is on the screen. There are some punching dialogues written for him. The same is not available for the hero role.

Technicality:

The cinematography is hopeless. It could be also because of the satellite screening. The nature beauty of Kushalnagar and other areas have not come out well.

Cinematographer Manohar gets blame for such poor satellite screening. He is a hard worker and good at work of course.

V Harikrishna has scored well for two songs but the main villain of this film is the background score. At many places dialogues are marred by background score.

Songs Marali Marali Ninna Nenape Kanna Thumba….Onduralli Obbalu Cheluve…..Malli Neenu Sulli Neenu….are good in melody from V Harikrishna.

Last but not the Least: Cop verses Villain is as old as hills and mountains!

Courtesy : SuperGoodMovies
Rating: 2.5/5
Cast: Chiranjeevi Sarja, Ramya, Ravishanker, Gazar Khan, Tilak, Ramesh and others.
Banner: Sri Chamundeswari Films
Music: V Harikrishna
Cinematography: Manohar
Producer: A Ganesh
Screenplay, Direction: Madesh K

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Movie Review Scre4m English 2011

"It's a monotonous merry-go-round of murders that’s consciously grislier but noticeably less effective than those found in earlier entries."

A whole new spin on the "classic" movie review; turning dorky and dry into hilarious and hip.

At the time of Scream’s release in 1996, the state of Hollywood horror was at a pretty low-point. For every Dracula, there was a Frankenstein. For every original idea, there were dozens of painful sequels. There were some truly terrifying films released during the decade, but there wasn’t a lot we hadn’t seen before. Then along came Wes Craven’s now classic slasher pic, a revisionist take on the genre that simultaneously dissected its tropes while embracing them. It was equally hilarious and horrific thanks to the auteur’s precise execution and Kevin Williamson’s sharp, sardonic script that dynamically pooled the characters’ points of view with those of the audience. Scream’s self-awareness was a true game-changer that has carved a very nice place in film history for itself. Fifteen years and two sequels later, the franchises’ principle players have all returned to Woodsboro to catch up on cinematic commentary and thwart the sadistic plans of yet another Ghostface killer in Scream 4.

COURTESY : HOLLYWOOD

In how many ways does this bloody new chapter differ from the others? Not many. The story begins when Neve Campbell’s Sidney Prescott, now the best-selling author of a self-help book, returns home on the last stop of her promotional tour. There, she meets up with Dewey and Gale Weathers-Riley (David Arquette and Courtney Cox), her friends and mutual survivors of the Woodsboro Murders, though there’s precious little time for a warm reunion because someone has inherited the mantle of Ghostface and begun taking out the town’s well-endowed teenagers. The trio, along with a young and attractive cast of victims and suspects including Emma Roberts, Hayden Panettiere, Nico Tortorella and Rory Culkin, attempt to stop the killer despite an escalating body count.

As with the original, Williamson’s screenplay is the most valuable part of the production. He employs the same narrative formula he did in ’96 but puts it in contemporary context, riffing on cinema’s current trends (namely sequelitis and the torture-porn craze, the latter which the filmmakers are clearly not fans of), his own franchise (the opening, self-deprecating sequence is absolutely riotous and perhaps the funniest in the entire series) and America’s social media obsession (Twitter, Facebook and YouTube references take the place of pagers and other outdated cultural staples, further separating the film from its predecessors), which plays a larger part in the story and its characters motivations than you really want to know. If there ever was a film for and about the been-there-done-that, post-modern generation, it’s Scre4m.

While Williamson is at the top of his game, Craven’s direction doesn’t appear to have evolved much since helming the original (a sad fact considering his creative growth with Music From The Heart and Red Eye). A few eerie shots aside, he doesn’t take any risks with the material, resulting in a monotonous merry-go-round of murders that’s consciously grislier but noticeably less effective than those found in the earlier entries. Thankfully his enthusiastic cast is more than willing to go over-the-top and beyond to sell the (few) scares; Panettiere particularly stands out as the confident Kirby Reed, as does Alison Brie as the slimy PR girl Rebecca Walters. They’re all archetypes, fitting into the film’s modus operandi of amusingly adhering to conventions and making it relatively easy for you to predict who’s going to die without spoiling the fun.

Still, with so many preconceived notions about what Scre4m should be it’s hard to imagine all moviegoers loving its throwback premise and downright silly tone. What was once clever is now contrived; what was once refreshing and exhilarating for horror buffs is now exploitative of their common knowledge and passion. As a horror-comedy hybrid it brings some funny but not a whole lot of fear; in other words, it’s very much like the original. Not that there’s anything wrong with that…

Rating : 2/5

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