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Veera Thevan 2018 – Tamil Movie Review- Times Now India

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Directed by Rajaraman
Produced by Elred Kumar
Written by Bakkiyam Shankar
Starring Kreshna
Iswarya Menon
Karunakaran
Music by Leon James
Cinematography Kumaran-Vignesh
Edited by T. S. Suresh
Production
company
RS Infotainment
Distributed by Orange Creations
Release date
16 February 2018
Country India
Language Tamil

A judge looks as if he wants a break for choco-fudge. After all, everyone in the broom-swept courtroom is aware that lawyer Ravi Varma is lying through his teeth to get a rape-crazy crook off the hook. And look, Varma wins the case as easily as a snatching a crunchola candy bar from a kid.

Flip your lid, then, while watching Raj Kanwar’s Daag – The Fire, a title which is as inexplicable as an eleven-rupee currency note. Incredible and contrived, the story told here is utterly unbelievable, pulling out kooky characters and shocking situations like so many funny bunny rabbits popping out of a magician’s hat. Howzzat?

Quite taxing actually, though it must be admitted that for the first hour or so, Kanwar succeeds in riveting your attention by turning on the drama at full blast. You just can’t think, wink or blink as the plot rips off the little-remembered slick Hollywood flick Regarding Henry. Parachuting into Harrison Ford’s role, Chandrachur Singh is wormy Varma, a lawyer who’s about as clean-‘n’-hygienic as a backalley gutter. Mutter.

Using every loophole in the law, Wormycelli cares a fig for fire-ravaged factories in which hundreds of mill workers have lost their lives. His wife, Kajal (Mahima Chaudhary), suspects that something is seriously rotten but buries her doubts to prance-‘n’-pirouette with hubby at jam sessions hosted at some place called the Kool Klub. Rub-a-dub.

Something’s gotta give, no? Wormy, abetted by his fearsome father-in-law (Raj Babbar flaring nostrils) and a gang of sleazy bar-gargoyles (including Mohan Joshi downing more drinks that Devdas), go too too far. They threaten an upright municipal commissioner (Shivaji Satam) with fire-dire consequences. Quite naturally, Mr Municipal doesn’t accept a hefty bribe from the terrible tribe and has to pay for his honesty with his life. Such strife.

Next: Mr Municipal’s commando son (Sanjay Dutt) rushes over from the deep terrorist jungles to shower Mumbai town with bullets from two guns. In the shower, Wormy is injured gravely to the point of being reduced to a vegetable thali, while that jam-session wife breathes her last after coughing blood. Eeeee.

At least, this part of the plot-pourri is narrated with a manic, fast-tempo energy. But to fill up the rest of the show, there’s nothing more on display than woe and more woe. A look-alike of the deceased wife fetches up in the persona of a bidi-smoking nautch gal with strong shades of Sharmila Tagore in Mausam. For a touch of difference, Nautchwalli breaks into a wild Rajasthani dance-‘n’-song as if she wanted to be the next Lila Arun. Oh brother and sister.

Lila Arun’s heart melts on seeing the veg thali. She nurses him back to normal (if that is possible). But what’s the use? Commando boy is waiting to spray Veggie boy with more bullets. Of course, a convenient compromise is organised, so that the innately goody-good guys triumph over that deathy dad-in-law and the bargoyles. Crude and rude to the extent of being hopelessly vulgar, the comedy interludes have to be seen to be disbelieved.

Kanwar can pack in a dramatic wallop, yes. But his unquestionable talent for whipping up a storm could be more gainfully channelised in a story that at the very least has a smidgen of plausibility. With the bhangra-beat discernible in at least two of the songs, the gifted Rajesh Roshan seems to have been asked to cater exclusively to the Punjab belt.

Finally, if you survive through the ordeal, it’s because of the inspired performances. Shivaji Satam, though in the danger of being typecast as the ultra-honest babu, is absolutely convincing. Chandrachur Singh is remarkably sensitive, demonstrating that he is capable of adding nuances to his character, besides modulating his voice with finesse. Mahima Chaudhary, after Pardes, reaffirms that she is confidence personified, vaulting quite effortlessly over the absurdities ingrained in the script.

Sanjay Dutt continues to have a commanding screen presence, and is especially striking when it comes to conveying emotional hurt through his eyes. If only Raj Kanwar had given his cast a better script, then you wouldn’t have wanted to bark-‘n’-bite through this Daag Day Afternoon.

Hai, this is sri ram, I one of the General Assignment Reporter, at timesnowindia.com, 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”

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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
Production
company
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

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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
Production
company
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

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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
Starring
  • Tiger Shroff
  • Disha Patani
Music by Score:
Julius Packiam
Songs:
Mithoon
Arko Pravo Mukherjee
Sandeep Shirodkar
Gourov-Roshin
Pranaay Rijay
Cinematography Santhana Krishnan
Production
company
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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