Reviews written by registered user
|113 reviews in total|
It is again three guys and three girls but this time guys are rich.
They again fall in love with the girls who possess characteristics of
the women fraternity which have been described as greed, confusion,
indifference, inconsideration, gullibility, impracticality etc.
It packs the right punches in some scenes, the screenplay is little inconsistent and loses the main focus as some situations are impractical and we cannot identify with those.
However, it has been researched well as it conveys the message that love cannot be superficial and it requires a commitment from both sides. Being covetous and unreasonable is the reason of struggle and it also requires a respect for both. And finally all roads lead to home that is mother; mother's love for a child is unconditional.
All the actors have done their jobs brilliantly; they personified the characters with plausibility and some the scenes stand out, the scene at the police station where Chauka delivers the perfect dialogue which worked like an eye opener or the monologue by Kartik.
The songs are forgettable but the good thing is that movie did not have many songs.
Overall a decent effort by Luv Ranjan, a movie for the youth who can easily put themselves in the shoes of the characters, and "the wearer knows best where shoe pinches."
"Khota hai, par mera hai" Aditya Pancholi said is correctly for Sooraj.
'Hero' starts with a heavily tattooed Sooraj (Sooraj Pancholi) flexing his muscles and thrashing the goons, one by one or all of them at once. The villain also says "Hero ki tarah entry maarta hai, khud ko Hero samajhta hai kya". Now you can have an idea, what are you going to watch for next 125 minutes? It is the remake of "Hero" which made Jackie Shroff and Meenakshi Sheshadri stars overnight, it was Subhash Ghai and it was also 1983. Then the love story, dialogs, action scenes, melodrama and villains were not clichéd, but now these are truly are, but it has a soulful music.
It has been three decades and we are watching same thing with different star cast, high voltage action sequences, a muscular protagonist and Athiya Shetty.
Screenplay does not offer anything but clichés, cheesy dialogs, every frame is predictable, forced comedy and but it has some unpredictability too, that is the songs, because songs can come at whatever time. Nikhil Advani thought- "We don't have anything to show, let us insert a song" this way he has inserted six songs. Writing is poor and it does not give a scope for any character to behold the story.
Sooraj could have done better if he had concentrated on his acting than musculature, he used all the screen time arching his muscles and doing death defying action scenes, at one point he escapes a bullet as a bicycle comes in front from nowhere. Athiya Shetty screen presence is bad and her acting too. Sooraj and Athiya speak Hindi doing a weird accent which does not exist, when we speak Hindi.
Tuigmanshu Dulia has been wasted and looks indifferent, other casts have nothing good to do.
I think Nikhil Advani was in haste as he has to release another movie too because his direction was really bad.
Ctrl+Alt+Delete should be the name of the movie.
"Wolf at the Door", debut film written and directed by Fernando Coimbra
is an amazing piece of film making. A revenge mystery/drama will haunt
you long after viewing.
The illicit and extra marital affair can be destructive and it will cost so much, the collateral damage have always been ignored.
Silvia and Bernardo's daughter has been kidnapped and it opens a can of worms when Bernardo's lover Rosa is being questioned as a main suspect.
Fernando Coimbra has written the script with immaculate precision, all the revelations has perfect place and it unfolds as soon as you are going to make acuity about the happening. The characters are well drawn keeping the deceit; lies and betrayal at every point.
Editing, cinematography and soundtrack are just brilliant, completing every frame perfectly; acting by main characters is believable, despair and desperation of the characters can be felt easing by the viewers.
A well done revenge drama which deserves to watched.
Ace fighter Billy Hope (Jake Gyllenhaal), his wife Maureen (Rachel
McAdams) and daughter Leila (Oona Laurence) living happily until the
day Maureen get shot. Devastated, Billy loses everything, the custody
of her daughter and wealth. He has to work hard, get a grip on the
sanity and his life.
Antoine Fuqua comes with new age Rocky or The Raging Bull as he teams up with Jake Gyllenhaal and delivers masterstroke. The characters have been written wonderfully, they show every nuance with perfection. The screenplay never loses its focus; it plays the right chords of your heartstrings.
Jake has been splendid in his last movies (Prisoner, Enemy and Nightcrawler), a method actor of new generation who goes into the skin of the character and makes it so believable that it will linger in your heart.
Rachel is very convincing in a short screen time, Oona screen presence is endearing, and she has done a wonderful acting which is commendable for a child of her age.
Forest Whitaker is believable as a distraught trainer and he does it with ease and flawlessly.
The fight scenes are perfectly choreographed, the camera-work is impeccable, and the soundtrack completes the fight scenes.
An ensemble of good script, immaculate acting with some heart touching moment
Kabir Khan comes again with an action-thriller, this time it is again
about terrorism and a vigilante is hell-bent to destroy it.
"Phantom" is based on "Mumbai Avengers" by Khalid Hussain Zaidi. It relies on the idea of "killing Osama Bin-Laden in a covert operation by US Navy-Seal" i.e. Indian secret agency RAW thinks (or one person makes other think and persuade), when America can do it then why can't we Indian do it? When they can enter The Pakistan and kill the terrorists, then why can't we Indians do it? "Zero Dark Thirty" did it credibly.
In order to accomplish the mission they need a team and a high level authorization which they won't get in any cost. So they search for one man who is skilled like Phantom (No identity on papers), who can go on suicide mission and even if he dies, it won't matter.
A Court-Marshaled army office (Saif Ali Khan) is convinced after two failed attempts to go on the mission, if he is successful, he will get his pride back. He is accompanied by Nawaz (Katrina Kaif) who will help him to run the show.
The intention looks good, but the execution is just run off the mill. We have seen a lot of movies on the theme and it requires a real adventure and believable characters. The writing is very poor along with the clichés, it is never convincing and leaves many threads open. The protagonist takes the maximum risk and it becomes Ethan Hunt, Jason Bourne or 007, but the swag doesn't go well.
Saif-Ali Khan looks really dull with inconsistent facial hair and one probable expression throughout the movie. Katrina Kaif looks beautiful but a mannequin could do the same job.
The locations are fantastic though, cinematography is brilliant but it could not save the film when all the start cast is taking it like vacation.
A story we wish were true, but it needs soul and better screenplay. It looks like it has been written in a haste and dialogues are just plain.
"Pitchers"- An inventive script, impeccable screenplay, true-to-life
characters, splendid acting and humor at its best.
Arnuabh Kumar started "The Viral Fever" on YouTube when he got rejected from MTV because their show was too intellectual. Now here he is, with "Pitchers", which is really intellectual.
Some IIT guys with a proclivity of film making started making small videos, and now they have reached to a level where we can proudly say that we can encourage everyone. Their satire on social issue, politics, and everything bad in our country, is commendable.
"Pitchers" have taken the creativity to a whole new level, lovable characters and immaculate writing are the soul of it.
Gives the feel of "Entourage".
Kudos people, Keep it up.
"Bajrangi Bhaijan" is a decent effort by Kabir Khan after pretentious
"Ek Tha Tiger". However, it again has cross border propaganda like his
other movies. He has this keen eye for showing India & Pakistan
liaison, which has been a fiery dispute since 1947, leaving many people
dead probably every hour. People are susceptible and ferocious about
Pawan Kumar Chaturvedi (Salman Khan) is a benevolent man with adoration for god Bajrangbali, meets Munni (Harshali Malhotra) who is lost in India when returning to Pakistan by Samjhauta Express. Now, Pawan has to take her home against all odds. The problem is that Munni is mute.
The story is meek and totally depends upon suspension of disbelief. It has all the clichéd and used ingredients like to be part of crores club. On the other hand, it portrays the humane side of Pakistan, how people are helping a person who has crossed lengths and is hell-bent to take a mute girl to his parents. It touches your emotional chords at the perfect time.
"Bajrangi Bhaijaan" also refrains from touching any sensitive issues which can disrupt the communal harmony.
Harshaali looks charming with speaking a single word and blooms with subtle smile on her face. She and Salman have an impeccable chemistry.
It has also has Kaeena Kapoor Khan (Rasika) who fills the gap of being love interest of Pawan and gives usual expressions as we seen in every other movie.
The real scene stealer is Nawazuddin Siddiqui (Chand Nawab) a freelance reporter; he tickles your funny bones with perfect timing. Every time he appears on the screen, it looks that we are watching a different movie.
The cinematography is vivid as it pacifies your eyes when we see landscape of Kashmir in aerial and long shots. The background score also flows with the story but in many scenes it goes pretty loud with some gratuitous slow-motion scenes. Songs do not add anything but are a hindrance to the story.
However, unlike Salman's every movie, this does not go over the top because Salman does not punch goons and lets them fly in the sky, does not leave a bicycle in a centimeter away from the running train or drive a London number plate bus in Poland. This time he is no "Devil" and he transpires into heart and mind at the same time. He plays this part with ease and charm.
A perfect treat for Salman's fans which gets melodramatic at the right time.
"Bombay Velvet", Anurag Kashyap's most ambitious project riding on 90
crores, based on the "Mumbai Fables" by Gyan Prakash. It starts just
after the Indian independence and tells the story of how the seven
islands become Bombay, the reclamation, corrupt politician, organized
crime, Jazz cafés and love story of Johnny Balraj and Rosie.
Balraj comes to Bomaby with his mother and wants to become "Big Shot" and he can go to any length to achieve this.
We all admire Anurag Kashyap for the cinematic brilliance and he has taken the affliction of taking the Indian Cinema to the next level. We all have seen "Black Friday", "Dev D","Gulaal", "GOW 1&2" and "Ugly". He is a man with panache and his movies deal with burning issues and fantastic subjects. However, "Bomaby Velvet" fell really short on all aspects, it never embraces you as a viewer and it never connects with you.
It has a world class art direction, awesome sets of Bomaby erected in Sri lanka, fantastic cinematography and CGI. Every nuance of 60's Bombay has been put to the detail. The background score is mostly loud but some songs compliment the scenes. It runs for 150 delirious minutes.
However, the writing is never convincing, it tries to be "Godfather", "Goodfellas" and "Scarface" altogether. The culmination is pretty sour as we never understand the sudden changes. There are many subplots which do not add anything to the story and left open.
Ranbir's character is powerful but it is confused between a gangster and a lover. Anushka Sharma doesn't have much to do except lip sync and some exaggerated scenes. Karan Johar looks phony as slick and stylish villain but he is flat throughout the movie. Why did he laugh so much on the word "Tender", it looked awful? Satyadeep Mishra has done a good job. Kay Kay impresses as always in a small role.
We could also see Varun Grover's stand-up comedy presentation in the café.
This could have been a way better film if some more time would have been invested in writing because it has some instances of being a masterpiece.
The story is set in Seville town on the Guadalquivir newly found
democracy during 1980, when there were still evident vestiges of the
dark times that the country experienced during the dictatorship. A pair
(Juan and Pedro) of homicide cops from Madrid called to investigate the
case of two teenage girls who vanished without a trace during the
village fair. Some witnesses saw them last up to a car amid the
darkness of night. Juan, the veteran detective, is an impulsive human
being, uses violence on suspects to achieve information, fond of
alcohol and prostitutes. However Pedro, contrasts with containment and
politically correct ways, he does not like the unorthodox methods of
his partner to solve the mystery. As both men are immersed in research,
they discover a fauna of characters that may be related to the
disappearance of girls and hiding many secrets.
With this film Alberto Rodríguez gives us an enjoyable thriller for those who like the detective and investigative cinema, 105 minutes of a real "tour de force".
Before the atmosphere, the inhospitable delta of the Guadalquivir is here to speak. The repeated interspersed aerial photographs of the swampy area carry an ominous feeling of helplessness, director Rodríguez and his co-author Rafael Cobos created a mood of vague menace and foreboding. The police arriving from Madrid are greeted with open dislike, In the rural population, it is prevalent in the uncertain times of change powerlessness and dissatisfaction, While the young Spanish democracy is being shaken by an economic crisis, women outside of the big cities still have to suffer under machismo and unabashedly conservative moral concepts. Thus, adolescent girls cling to every available opportunity that promises an abandonment of the archaic conditions. But it is their desire for a better, more equitable life in the distance makes it tragically easy to match balls of depraved, backward-looking world, they try to escape just that. This background gives the case of the missing sisters also a tragic and shocking twist.
The detective story takes the usual genre course of interviews, the search for evidence and all that goes with it, at the same time; there is the fundamental conflict between old and new.
"Marshland" is a neatly crafted thriller with breathtaking cinematography and outstanding acting by lead cast and perfectly supported with subordinates.
This film begins as a fairly common story, a story that in times of
crisis anyone can feel absolutely identified. Luis is an unemployed
literature professor who is barely able to make his end meet. He wants
to fulfill the last wish of his 12-year-old daughter Alicia, patient of
terminal cancer. Alicia wants an expensive dress of Japanese cartoon
series "Magical Girl Yukiko". On the other hand, the film introduces us
to Barbara, a young woman who suffers from mental disorders and Damian
a retired teacher doing time in jail.
Three people in extreme conditions seem to move in a parallel universe where violence and pain dominate, but in a poetic way. In the universe of Vermouth, everyone is guilty and everyone is innocent. Magical Girl talks about violence and sadness using the rules of a film noir, with many subtle references of Japanese cinema.
It would be easy to fill pages and pages about the virtues of "Magical Girl", but it is a little complicated to do without uncovering some of the many surprises of the film. Because in reality, it is much more than a story where lives intersect and the storm broke. It is a framework where the details are taken care to detail. The music appears only when it is needed.
Jose Sacristan, Barbara Lennie and Luis Bermejo not need more than one scene to explain the most accurate descriptions of screenplay. Lucia Pollan, a revelation, it is amazing to see her purity and innocence overshadowed by the situation.
What is bad, however, is that all these mixed ingredients in the same bowl can roll back to a kind of niche audience more accustomed to these kinds of films. As for the end, it is open to many interpretations, which can leave the viewer confused, but will give us the opportunity to look, to find our own explanation to what is happening.
Magical Girl talks about violence and sadness using the rules of a film noir, with many subtle references of Japanese cinema.
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