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Thadam – Arjun Vijay in dual role -Times Now India Movie Review



Thadam movie Review

Directed by Magizh Thirumeni
Produced by Inder Kumar
Starring Arun Vijay
Tanya Hope
Vidya Pradeep
Smruthi Venkat
Music by Arun Raj
Cinematography Gopinath
Edited by Srikanth NB
Redhan The Cinema People
Release date
  • June 2018
Country India
Language Tamil

YOIKS. A nursing home is crammed with more irate souls than Santa Cruz aerodrome. A sad mad patient on his sick bed watches yaplessly as goons splatter the clinical corridors with blood in colours ranging from a ripe brinjal purple to a squishy tomato red. Dread.

Welcome to the nightmare called Laawaris, directed by Shrikant R. Sharma, the sort you couldn’t experience anywhere else, be it Bangkok or Burma. If this is entertainment, then pray, what is punishment? Taxing, tiresome and tortuous, you haven’t had such a gruelling time ever since the last Maharashtra-wide power breakdown. No electricity, no relief, no breeze out here. Truly how you sweat and suffer in silence, dear. Oof.

What went wrong? Practically every ding-dong thing, right from Honey Irani’s story-screamplay (which eerily reminds you of the Javed Akhtar-authored Mashaal released way back in 1984) down to the tick-tack-tacky visual design, the hysterical direction and Manisha Koirala’s wind-blown hair- do’s-and-don’ts. Couldn’t the unit have, at least given her a comb?

Actually, the absence of a comb is a piffling point compared to the hot rot plot. Every character seems to be burning with a viral fever which no syrups or tablets can cure. Take Boy Captain (Akshaye Khanna). Boy-oh-boy extracts hefty haftas from a basti, jigs away at a jigsotheque and reveals that he is the discarded kid of a 15-year-old girl who was raped one terrible morning. Mercifully, you’re spared a flash-dash-back to the Indian rape trick.

Captain kid continues to lumber-‘n’-slumber, with his bang-bang gang, till a nice-nice family pops into the rusty basti. Where the lawyer (Jackie Shroff), his starched-saree-parading wife (Dimple Kapadia) and their l’il sonny (Moppet Wide Eyes) materialised from is as mysterious as the phenomenon of flying saucers.

The family looks as if they’re running a terrible temperature. Ditto, the lawyer’s brand-new assistant with the disorderly hair (yup, Ms Koirala). And of course, there are the mandatory meanie-beanies, including a grotesque, bourbon-swigging boss (Govind Namdeo repeating his hatya Satya act), his expressionless muscle-flaunting beta, plus a bizarre bozo who often forgets to wear his shirt and banian.

Get the picture, then. Captain chhokra boy has to contend with the goody-gumdrops family, besides romancing Lady Disorderly in Goa if you please. Inevitably, when Boy longs to go straight, he must rebel against Boss Bourbon. Help yelp. Next: every human being in sight from that bustling basti lands up in hospital, not for a medical check-up alas, but for a marathon climax of biff-bam-ow-pow-ouch-slouch.

At the end of the shoot-outs, fisticoughs and bullet ballets, the battered viewer is in urgent need of a doctor as well as a soothing Florence Nightingale by his seat-side. Chances are that you will have to be nursed back to normal.

What no redeeming features? Hmmmm, let’s see. Well in this hell, Rajesh Roshan’s songs Aa kahin door chalen and Mere doston are easy on the ears. But did the composer have to ransack the I’m a Barbie girl tune for the number Tumne jo kaha? Aaaha, not done. Of the cast, only Akshaye Khanna acts with his characteristic restraint, sensitivity and spontaneity. If only this young and gifted actor could be seen in projects that do justice to his potential.

For the rest of the way, here’s a saga of volcanic eruptions that should have been titled Lava-risk.

Hai, this is sri ram, I one of the General Assignment Reporter, at, We mainly cover timely news, educational and entertainment, sections. - Chief editor, politico-social activist, software engineer at Accenture India.

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Daas Dev – Movie review and rating “Bollywood epic Drama”



Daas Dev movie review and rating

Directed by Sudhir Mishra
Produced by Sanjjeev Kumar
Gaurav Sharma
Manohar P Kanungo
Screenplay by Sudhir Mishra
Jaydeep Sarkar
Starring Rahul Bhat
Richa Chadda
Aditi Rao Hydari
Saurabh Shukla
Vineet Kumar Singh
Dilip Tahil
Anurag Kashyap
Music by Vipin Patwa
Sandesh Shandilya
Arko Pravo Mukherjee
Shamir Tandon
Anupama Raag
Cinematography Sachin K. Krishn
Edited by Archit Damodar RastogiRastogi
Storm Motion Pictures
Saptarishi Cinevision Production
Distributed by Shringar Films
Release date
  • 20 April 2018
Country India
Language Hindi

Once upon a time there used to be recognisable barriers of race, religion, class and caste in the path of true love. But all that is passe today. City of Angels posits a new problem. What happens if an angel falls in love with a human being? How do they meet, touch and mate? And do they live happily-ever-after? If so, where: in heaven or on earth? Also, does the angel become human or does the human acquire a corporal form? Unusual teasers in an unusual love story.

Seth, a dewy-eyed on-duty angel (Nicholas Cage) comes across Maggie, a weeping doctor (Meg Ryan) in the corridors of a hospital in Los Angeles and falls desperately in love with her. In his attempts to console her, he makes himself visible to her, but only occasionally. So that, Maggie, the cardiologist who has just lost a patient on the operating table, begins to lose her blues due to her intermittent encounters with the beatific-looking guy who pops up in the hospital corridors or the local library, lending her a gentle word and a Hemingway book for comfort. Of course, he does pose that strange query now and then, asking her to define taste, touch, love and desire. This only adds to the enigmatic charm of this mystery suitor who begins to cloud the senses of the no-nonsense doctor who longs for more and more of him. A longing that is reciprocated by the winsome seraph who takes the deep plunge that angels must take to become human. All for a whiff of her hair, a touch of her hands.

Gooey, romantic stuff that may be an adaptation of Wim Wender’s Wings of Desire. Only here the philosophical tones of Wender’s films have been replaced by a breezy effervescence that lends a surface sheen and a sparkling chemistry to the relationship between Cage and Ryan. Of course, the riveting portrayals by the two of them enhances the grandeur of the film. If Cage is almost pristine, with his brilliant encapsulation of angelic goodness, then Ryan is bristling with unbridled energy as the perfect human. But more than all this, the film is a lilting ode to human kind. The angels might hear celestial music during sunrise and sunset, but man has free will. Apart from this, he can taste water, read the newspaper, feed a dog and breed a family. So there!

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Hey Jude – A journey of healing and transformation – Review and rating 2018 – TNI



Hey Jude movie review

Directed by Shyamaprasad
Produced by Anil Ambalakkara
Screenplay by Nirmal Sahadev
George Kanatt
Starring Nivin Pauly
Trisha Krishnan
Music by Ouseppachan
M. Jayachandran
Gopi Sundar
Rahul Raj
Cinematography Girish Gangadharan
Edited by Karthik Jogesh
Ambalakkara Global Films
Distributed by E4 Entertainment
Release date
  • 2 February 2018
Country India
Language Malayalam

One more addition to the `Mera Bharat Mahaan’ movie memorabilia, Hero Hindustani is the inverse of Aur Pyar Ho Gaya, the obverse of Pardes, the reverse of Purab aur Paschim and a follow-up of Dilwale Dulhaniya Le Jayenge. It carries forward the current craze for a canned variety of Indian tradition and culture which has become the be-all of popular culture today.

An aging NRI (Paresh Rawal) who has built his fortunes in London has just one fear. His grand daughter Nicky (Namrata Shirodkar) might just turn her back to her family legacy. She might just go ahead and marry some `Tony Braganza’ and give up her native `sanskriti’ and `sabhayata’ for the western life style. So he comes up with an ingenious plan to ward off the imminent doom. He fixes her marriage with a `made-in-India’ groom who lives in a haveli in Tikamgarh, surrounded by colourful Rajasthani bards who break into song and dance at the drop of a hat. Could have been quite all right and the aging patriarch might just have settled down with a brood of Tikamgarhi great grand children who would wear the traditional turban while strolling down the Thames. Only, Nicky has already been swept off her feet by the strong westwardly currents. An Indian groom does not fit into her lifestyle at all. Specially when she has already found a brawny Made-in-London Indian for herself.

So what does natty Nicky do? She flies to India, finds a tourist guide (Arshad Warsi), signs him up as her contract husband and returns to Dadaji, hoping to make him anti-India with the desi husband’s despicable ways. Doesn’t work at all. For East or West, Indians are the best, Yo! The tourist guide turns out to a thoroughbred Hindustani hero who knows how to recite the vedic mantras and celebrate Eid with equal gusto. And yes, he also knows how to tame `phoren’ shrews with a few stinging slaps, forcing them to shed their minis for the Indian sari as part of the metamorphosis.

The plot may be predictable, but the lively comedy track keeps the film afloat. More than the lead players, it is the character actors who steal the show. Kader Khan is irresistible as Topi Master, the taxi driver who has spent his life dreaming of flying off to dear friend Santa Singh, who owns half of London. Shakti Kapoor too manages to raise a few laughs as Cadbury, the butler who bears the brunt of all the tricks. But the surprise package is Arshad Warsi who displays a remarkable spontaneity – reminiscent of Govinda – in his portrayal of Romi, the flamboyant tourist guide.

Light and breezy fare.

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Baaghi 2 “Indian Thriller/Action” Movie review and rating by TNI



Baaghi 2 Movie Review and rating

Directed by Ahmed Khan
Produced by Sajid Nadiadwala
Screenplay by Ahmed Khan
Abbas Hierapurwala
Niraj Kumar Mishra
Story by Adivi Sesh (original)
Sajid Nadiadwala (adaptation)
Based on Kshanam
  • Tiger Shroff
  • Disha Patani
Music by Score:
Julius Packiam
Arko Pravo Mukherjee
Sandeep Shirodkar
Pranaay Rijay
Cinematography Santhana Krishnan
Nadiadwala Grandson Entertainment
Distributed by Fox Star Studios
Release date
  • 30 March 2018
Running time
144 minutes
Country India
Language Hindi
Budget ₹ 60 crore
Box office ₹ 212.91 crore

Sabotage sends the first space colonisers reeling into unknown territory amidst the stars and the moons. Instead of docking and settling down on Alpha Prime, the only other habitable planet in the galaxy, the Robinson family ends up on a weird space station, inhabited by marauding spiders and a mysterious yellow alien. There, in the midst of nowhere, there is little they can do besides juggle with the sundry buttons on their machines, hoping to strike the right one and head home again. Or else look for peace amidst the webs of intrigue that have been meticulously woven by the sinister Dr Smith (Gary Oldman) who is hell bent on foiling human progress.

So what do we have here? Yash Chopra’s Dil To Paagal Hai replayed as Karan Johar’s Kuch Kuch Hota Hai with a few cosmetic changes to add that note of difference. But no, deja vu does not set in, despite the fact that this young director has replaced Chopra’s dance theatre backdrop with an Archie’s comic college, Karisma’s fiesty hero’s-best-buddy bit by Kajol’s more fiesty friendship and Akshay’s `understanding fiancee’ finesse by Salman Khan’s brawny charisma. It is Madhuri’s Miss India part which has provided him a platform for innovation. He divides the dream-girl bit between Tina (Rani Mukherjee), the feminine new collegiate and Anjali (Kajol) the tomboy who turns into a woman after being sidelined in love. And quite a judicious division which sees Tina playing beloved in the first half and Kajol gracefully metamorphosing from buddy to beloved in the second half.


Based on a television series, the film supposedly has 750 state-of-the-art special effects apart from talking robots and spaceship dogfights. Only this time, the effects aren’t actually visible for the booms and bangs of Lost in Space can hardly be distinguished from the booms and bangs of other space adventure films.

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