Saturday, 17 May 2014

LINGAA Tamil Movie Review

Linga movie review

Release date:-  november 2014

Director :- Ravikumar 

Cast :- Rajinikanth, sonakshi sinha,Anushka

Lingaa is an tamil action movie direction by K S Ravikumar. The movie starring with Superstar Rajinikanth, Sonakshi Sinha and Anushka in lead roles. Cinematography is handled by Randy and A R Rahman is composing music. The movie is written by Pon Kumar. Movie Pooja happened at Chamundeshwari Temple in Mysore on May 2nd, 2014.

Kochadaiiyaan Tamil Movie Review

Kochadaiiyaan Movie Review

Release date: 23/May/2014

Director:- Soundarya Rajnikanth

Producer:- Eros International & Mediaone Global Entertainment

Music Director:- A.r. Rahman

Cast:- Rajnikanth ,Deepika Padukone , Sarathkumar R, Jackie Shroff, Aadhi , Sneha , Shobana , Nassar ,

Friday, 9 May 2014

The Amazing Spider-Man 2 Movie Review

The Amazing Spider-Man 2 Review

Over the years, the iconic Spider-Man has enthralled millions and with each new edition, be it comics, television series or films, our expectations soar for a fantastic action-packed drama.

Unfortunately, the much-awaited, Marc Webb's "The Amazing Spider-Man 2" is a damp squib. Cluttered with numerous sub-plots that lead to textual inconsistency, it offers a bland, insipid and a tangled fare packed with adolescent angst and predictable action.

This film takes off from its prequel, "The Amazing Spider-Man". It begins with a flash back in a sepia-toned sequence beginning at the OsCorp Industries. The sequence explains the mysterious disappearance and death of the scientist Richard Parker (Cambell Scott) and his wife Mary (Embeth Davidtz).

After establishing this, the film then shifts gear full throttle to a present-day action-packed sequence, where their son, Peter Parker (Andrew Garfield) continues to fight crime as Spider-Man.

Interspersed with; dynamically energetic shots of the web-slinger swinging between skyscrapers and chasing a rogue truck driver with silly tongue-in-cheek wisecracks and more than a few visual gags, the sequence is everything you could want from a Spider-Man movie. If Webb's entire sequel had operated on that level, it would have been remarkable and a different story to tell.

But instead, in this version, Spider-Man, Peter Parker (Andrew Garfield) is in a soup over the affairs of his heart. He is distraught with pangs about; his relationships with his girlfriend Gwen Stacy (Emma Stone), his best childhood buddy Harry Osbon (Dane DeHaan), his fan Max Dillon (Jamie Foxx) who later transforms in to the villain Electro. He also pines to find the truth about his biological parents.

And in between all this emotional mesh, he gives us a dose of his "Spider-Man" antics.

The lean Andrew Garfield nails Parker's inherent awkward-yet-earnest goofiness. He is mischievously charming while romancing his real-life girlfriend Emma Stone on screen and at the same time he touches your heart in the powerful scene with Sally Field who plays his Aunt May.

The modestly radiant Emma Stone enthuses subtleness into her character, Gwen Stacy. She brightens the stage when she is with her beau. Similarly, Dane DeHaan stimulates the screen as the young damaged and arrogant billionaire who is defenseless and yet spiteful.

Jamie Foxx, in his one-dimensional avatar is impressionable. But unfortunately his imprint along with all the other the characters in the film have a fluid charm because in the larger scenario, the characters are pretty superficial and are treated just as comic book characters, without depth.

Here, the fault lies not with the actors but with the script delivered by Alex Kurtzman, Roberto Orci and Jeff Pinker. The orphaned sub-plots loosely tie up the story in totality. Unfortunately, no justice is done to extract the optimum out of each of these story lines as well as the characters involved.

The background score and music by Hans Zimmer is lively and invigorating and different from his previous works. The numbers, "I'd love you more than you are gone" along with "It's On Again" are worth a mention.

Visually, with fine production values, it is a treat to watch cinematographer Daniel Mindel's work shot on 35 mm film in the anamorphic format. These frames seamlessly merge with the computer generated images and are layered well by Paul Massey and David Giammarco.

The 3D is pretty ineffective in nearly ninety percent of the film. It's only in a couple of shots when the shrapnel flies in the air that one flinches. Otherwise Spider-Man's plunges et al work equally well in the 2D version.

Overall, there is nothing amazing in "The Amazing Spider-Man 2.

Yeh hai Bakrapur movie Review

Yeh hai Bakrapur Review

Satires have become an increasingly popular genre in Bollywood from being almost non-existent. A genre kick-started by the classic Jaane Bhi Do Yaaron, remained dormant before resurfacing stronger in the last few years. Subsequently films such Peepli Live, Well Done Abba, Phas Gaye Re Obama, Tere Bin Laden and Jolly LLB have managed to deliver the correct message along with the rib-tickling entertainment - the satire mainstay. Janki Vishwanathan's Yeh Hai Bakrapur attempts to take the genre ahead. 

YHB is the story of a goat called Shahrukh, who is set to be sold off at an animal market. It is the story of the family who is going through financial hardship and selling of Shahrukh is the only way they can pay back a loan, but suddenly realizes that keeping the goat could be more rewarding. It is the story of the village which jumps in the bandwagon - to find their share of luck from the blessed goat. It is also the story of a country which is ruled by blind faith. And above all it is a satire about ever-increasing human greed, which is the only one that scores over blind faith.

A silent milieu takes a dramatic turn when Shahrukh, the goat, is found to be divine courtesy the name of god being imprinted on his body. YHB has a very well oiled storyline - with a new twist building up every time you believe there could be a possible lull. What works for the film is that despite having a goat as the unlikely protagonist, the story is completely believable. The director also manages to squeeze humour out of her quirky characters. The characters fit beautifully into the story, never for once seeming out of place.

The actors justify their jobs. An earnest Anshuman Jha and seasoned Asif Basra are the best of the lot. 

What does not work for the film is that it does not have genuine laughing points - something that satires can rarely do without. The film is filled with subtle humour which will make you smile but not crack up. The film could have also been edited better. The most upsetting aspect is however the ending. With no proper conclusion to the story it makes one wonder if the writer ran out of ideas on how to finish what he started. 

Yeh Hai Bakrapur has a very interesting premise. However it falls short of becoming a really good film. It will make you smile nonetheless at the inane situations that can actually become a reality in the country.

Koyelaanchal Hindi Movie Review

Koyelaanchal Review

As Koyelaanchal reaches interval point, the story is all set for Suniel Shetty to get into his 'Balwaan' mode and bash the goons out of their senses. But that's where the film scores some brownie points as it keeps the actor true to the character. 

Another film set against the backdrop of the coal mafia, after the recent Gangs of Wasseypur and Gunday, Koyelaanchal has a few things that work for it. Primary among these are the characters. Though not as edgy and entertaining as Sardar Khan, Ramadhir Singh and Faisal Khan from Anurag Kashyap's GOW, these are far more rooted in reality than Bikram and Bala from Gunday. 

The same goes with the dialogues as well. There is a fair amount of work done to keep it real even as attempt is made to keep the humour of the regional dialect. 

Koyelaanchal is set in a village called Rajapur in Jharkhand - an epicenter of coal mining. The attempt is to show the corruption and resultant parallel government that a certain mining contractor Suryabhan Singh [Vinod Khanna] runs. When Niseeth Kumar [Suniel Shetty] arrives in the district as the new Collector, he figures he has a lot to do. However he is up against brute forces that will not stop from getting personal to ensure business is on track.

You only wish they used as much work on the screenplay. The film, with a close to one-and half hour second half after a relatively shorter first could have been much shorter if worked on with precision. This is where the director loses way and then there is no looking back. 

Many directors develop their signature treatment to a film and Asshu Trikha seems to have his own. His is jarring loud music coupled with weird sound effects. So you have unbearable background music and some strange whiplash sound whenever the Suryabhan Singh is involved in a scene. Add to this some particularly amateurish VFX scenes of blasts and fire. And not to forget the gore that could have been done without.

All this is more than enough to overpower what could have been a decent film into a half-baked half-hearted affair. And some earnest performances by its lead actors don't help. Buy a ticket? No! Definitely not when there are infinitely better films releasing in the same week!

Manjunath Hindi Movie Review

Manjunath Review

The fear of being silenced more often than not forces most of us to keep mum about surroundings that are not quite ideal. Manjunath Shanmugam was different. An IIM alumnus, Manjunath had decided to fight what was wrong and in process lost his life. That was in 2005. Back then it created a stir. But the question to be asked is, did that stir go on to become an undying movement, or did he die for no cause?

Does his life warrant a film? Yes, it does! It does as much as a film on any of India's most celebrated sons. Manjunath Idiot Tha Saala is a recreated story of this icon. This is an endeavor to tell the story in a documentary like exactness. The film attempts to display the struggle that Manjunath went through as he tried dealing with the fact that it was up to him to fight against corruption. He just could not have just let it be.

Ad-man turned director Sandeep Varma's crafty work displays the transition of a cheerful Manjunath into someone who cannot get over the fact that he is surrounded by corruption. Him change into someone who is regarded as mentally ill by his friends. The director also shows diligence in portraying the relationship between Manjunath and his family. 

He is ably supported by refined performances of his cast. Sasho Satish Sarathy as Manjunath is brilliant. Yashpal Sharma as measured as ever in his role as Golu Goyel, the prime accused. The best of the lot however would be Seema Biswas. She underlines, once again, why she is considered one of the better actress Indian cinema has ever seen. Scenes where she is interacting with Sasho are bound to bring in a smile.

The director also uses music, composed by Parikrama, cleverly. 

The film however loses much of its impact due the slip in the screenplay in the second half. As the writer wanders into realms best left unexplored in order to get make a moral statement the film gets seemingly longer, and slower.

It's limitations albeit, Manjunath is one film that should be watched. Just to remind us of that one tale of courage if not for its cinematic value. Having said that, director Sandeep Varma should be applauded for making a film that is true to the subject and not sensationalized.

Belle Movie Review

Belle Movie Review

Director: Amma Assante
Starring: Gugu Mbatha-Raw, Tom Wilkinson, Emily Mortimer, Sarah Gadon, Sam Reid, Miranda Richardson, James Norton, Tom Felton

I have an old friend who believes without question that the trailers you see before a DVD are a perfect indication of the quality of the movie you are about to watch. I must admit that she has been spot on much of the time. Her theory was going through my head while I was viewing BELLE as I remember seeing the trailer for it in theaters and feeling utterly unmotivated to see the film. I wondered about the hypothesis in reverse: Perhaps, it is those films whose trailer looks SO awesome that in the end fall short, and vice versa. That is certainly the case with BELLE. It’s hard to grip viewers with thrilling, breathless, sleep-at-the-theater-the-night-before anticipation for a period piece given that they are usually low on pyrotechnics, super-suits and Jason Statham. With his shirt off. Sweaty. I digress. BELLE is not only a very good story based on factual events, it is a good film and it is an important film in my opinion.
If we are going to talk about slavery films, I debated heartily over 12 YEARS A SLAVE which I feel fell short of its potential and failed to hook me emotionally. I am very lonely in my position in regard to that film but I’m fine with that. While I do not want to reduce my opinion to mere gender differences it may very well be because I am a woman that my passion, rage and heartbreak were roused by BELLE, as it is a film as much about women and their roles, value and place in society as it is about slavery. It delivers several threads woven seamlessly together and it works. It fortunately doesn’t devolve into hyperbole and bodice ripping like so many historical films. I’ve got nothing against some good bodice ripping mind you but its a cheap thrill compared to intelligently presented ethical discussions. And of course, there’s a smidge of love story thrown in for good measure.
BELLE is based upon the life of the real Dido Elizabeth Belle (1761-1904) who was the illegitimate daughter of Admiral Sir John Lindsay and a slave known as Maria Belle. Lindsay took Belle, played by the bewitching Gugu Mbatha-Raw, to be raised by his uncle the First Earl of Mansfield, William Murray (portrayed by the unparalleled Tom Wilkinson) and his wife (played by Emily Mortimer), who had no children of their own. Already in their care was the young Lady Elizabeth Murray (Sarah Gadon) and it was thought it would be good for the Lady Murray to have a companion her own age. William Murray was also during that period serving as Lord Chief Justice of the King’s Bench (great title I say) who was, by virtue of his judgment in Somersett’s Case, instrumental in abolishing slavery in England. In the film the pivotal case involves a slave ship with a tragic end but it matters not – the life of Dido Belle, the trajectory of the legal case, marriage for position and power versus love and a ruthless portrait of women’s place in society all play well together in the film. The irony of the Lord Chief of Justice having to raise an illegitimate half black girl is not lost on the audience. It is in fact the very tension between what he believes, feels and lives in his own home versus what he is charged to rule upon which gives the film its core dramatic tension and force. The outcome of Murray’s decision will either uphold and condone the British slave trade, or strike it down and alter the entire nation, and that serves as a intelligent skeleton for Belle’s personal story.
Additionally, we are given a painful view from the standpoint of the women of the age and the sad reality that their standing in society and ‘net worth’ are the only values they have. Marriage is but a business deal and to act out of fondness or, god forbid, love, is unimaginable. While I hesitate to make an analogy between women’s caste and slavery it is hard to ignore that women were bartered for money, position, land and power. They had zero self-determination whatsoever. Where then does that leave our Belle? A black woman who is higher than a slave, but cannot eat with her family or at a formal dinner because of others’ “defendable objections.” There is a turning point in the film which allows Belle to believe that she has choices, perhaps more than many young women, but in the end it still leaves her – in her own words – nowhere. She is family to the Murrays, but not completely. She is independent and safe, but not really. She is marriageable and beautiful, but not enough. Because she is black. Black enough to be a diversion and “exotic,” but too much to be equal. The scenes in which this ugly truth is displayed made me squirm more than anything graphic I’ve ever seen in another film about slavery. It may be because of the seemingly intelligent civilized society that is the setting of BELLE, and that is why we shudder – we want to believe they know better. Maybe they do, but not to act on it early or frequently enough. No matter how beautiful, intelligent and talented Belle may be we are never far from being reminded that a crushing blow lies just moments away and once more the rug will be pulled out from under her shoving her firmly back in her place. Nowhere.
Mbatha-Raw is absolutely captivating. She effectively communicates both strength and vulnerability with just her gaze and delivers her lines with conviction and power. Wilkinson is as usual flawless and it is always a joy to watch an actor who has the skill to turn a mood with the mere inflection of a syllable. Emily Mortimer too shows restraint and delicacy staying far from what could have been a stereotypically passive and shrill wife. Sam Reid plays John Divinier, one of Belle’s potential suitors. His character is pivotal in the film and allows for a meeting of the mind and spirit with Belle. However I found myself wishing that Reid had more sheer physical presence. I felt that I was watching an 18th century surfer dude and it left me yearning for his physicality and manner to match his character’s passion, beliefs and drive. He is just a bit too soft and young to visually covey what his fine dialogue does.
The film is deftly edited and that is saying a lot these days. It moves along smoothly and swiftly, giving us only necessary details and visuals, and there is little that is superfluous. Director Amma Assante has one previous feature film under her belt and evidently has an aptitude for working with her female characters in particular. It is not that the men in BELLE are one-dimensional, especially not Wilkinson who moved me to tears more than once, it is more that they are mere pawns placed among Belle who allow her to see her path more clearly.
It is a lovely film visually but it does not dwell on the landscape as a crutch as so many sweeping historical sagas tend to do. Giant green carpets of lawn and columnar manor homes can make up for a multitude of sins in screenwriting. BELLE is purely character driven and asks of its audience important questions:. What, exactly, is freedom? Are we free only in comparison to some construct or constraint? What are we willing to risk to do the “right” thing? How do you effect change when you are an instrumental part of the machine which created and upholds inequality and suffering? I am not saying BELLE answers all of these deep quandaries, but it does a lovely job asking the right questions and showing us about love, family, principles and honor.