Showing posts with label Movie Preview. Show all posts
Showing posts with label Movie Preview. Show all posts

Dum Maaro Dum "Movie Preview"

Goa. Paradise on Earth. But every Paradise has a few snakes.
Multiple lives collide brutally one day at Goa Airport... and change forever.


Lorry (Prateik Babbar)
A student on the verge of following his girlfriend to a US University. But when his scholarship gets rejected, his life threatens to spiral out of control, until he meets a smooth talking hustler who promises to get it back on track. For a small price. His soul.

ACP Vishnu Kamath (Abhishek Bachchan)
A self destructive cop fleeing his own past, Kamath is given the job of destroying the brutal local and international drug mafia in Goa. As he begins his ruthless, relentless campaign and takes on the murky drug world... he discovers nothing is what it seems.

DJ Joki (Rana Daggubati)
A local musician and mute spectator to what is happening around him, Joki drifts aimlessly through life after an encounter with the drug mafia cost him everything he held dear. Today he discovers history has a nasty habit of repeating itself. Will he finally have the guts to take a stand?

Zoe (Bipasha Basu)
An aspiring airhostess who saw her dreams turn to dust, Zoey in a way represents Goa itself. A child of the hippy generation, a mix of local and foreign culture, innocence and beauty have gradually been replaced by cynicism and abuse.

Lorsa Biscuta aka the Biscuit ( Aditya Pancholi)
A ruthless local businessman, the Biscuit has his finger in every Goan pie, legal or illegal. The point person between all the various Mafias operating in Goa, the Biscuit finds himself pushed to the extreme limit with Kamath's arrival. But he knows who to turn to:

A mysterious shadow
The ultimate drug kingpin. Many names, many identities but no one knows who he is….

We hurtle into the bylanes, beach shacks and raves of Goa with Lorry as his life spirals out of control, with Joki as he tries to redeem the past and with Kamath as he goes no-holds-barred after the mysterious shadow figure behind it all...

Punctuated with a soundtrack that moves from pulsating dance tracks to haunting Konkani songs, shot right in the midst of the teeming international tourist hotspots, Dum Maaro Dum takes you on a dramatic, thrilling trip filled with twists, turns, suspense... and a shocking finale!

Credit: Santabanta

MOVIE PREVIEW

 To describe the rollercoaster ride that is Yeh Saali Zindagi(YSZ) is to attempt to draw the picture of the Red Fort at the seaside. Every attempt to define the plot will be washed away by forces beyond our control. So let’s just say, YSZ is an edgy and raw take on what it takes to make love loyalty and other related illusions jell in a rapidly-mutating consumerist society like ours.

The film is set in and around Delhi’s underbelly. Mishra explores the armpit of the Capital’s get-rich sub-culture, revealing a flair for satire even at the most deplorable moments of reckoning. Yup, Guy Ritchie and Quentin Tarantino would approve of Mishra’s humour in the most sanguinary circumstances. As for Vishal Bhardwaj, Mishra’s spaced-out vision is not even looking in that direction for approval.

Almost every character in Sudhir Mishra’s foul-tongued treatise on Love Lust & Longing During Times Of Gangwars, is stricken by a get-rich-quick itch. That bitch of an itch eats into the very core of their existence corroding their sense of propriety to the point where taking lives seems like one extended existential jokes.

We’ve some terribly funny moments of violence in YSZ where you shock yourself by laughing at the senseless callousness of the killings. We’ve these ruffians from in and around Delhi with thick Haryanvi accents(I instantly recognized that accent because I received threatening calls from one such goon for about a week four years ago) who just gun down a man and then wonder why they killed him in the ‘Faust’ place. In another funny sequence a goon is asked to kill his own brother-in-law. The goon acts scandalized but instantly pulls the trigger when the price is right.

To be or not to be bad is no more the question. Being evil is fashionably acceptable. And we aren’t just talking movies. YSL portrays a world of crusty dry cynical over-reachers. There are hardly any reposeful moments in the narration. The breakneck storytelling replicates the restlessness of the characaters. With a maestro’s adeptness Mishra weaves two love stories into the panoramic view of crime and corruption(with no sign of retribution and redemption).

While Irrfan Khan plays a man taken by surprise by the eruption of unconditional passion for a crooner who gives a damn about him(to begin with) Chitrangda’s gold-digger’s act is a sophisticated variation on Vidya Balan’s conniving manipulative seductress in Ishqiya. Her character has been created with a sensuous vigour that very few female parts in Hindi cinema can boast of.

But we are straying. YSZ is not a film that invites you to watch the characters’ perform. It instead goes the other way spreading out the characters out in a wide unmanageable net of indeterminate purpose but definite motivations. Get rich, Fast, is the magic mantra.

No one in the film illustrates the unaccountable wages of extravagant acquisitiveness better than Arunodoy Singh’s character. As the tough Delhi jail-bird Kuldeep he exudes the urgent scent of selfdestructive aspirations. Not surprisingly Arunodoy’s character is constantly running through the crowded marketplaces and congested roads of Old Delhi pursuing his angry and defiant wife(Aditi Rao Hydari). Arunodoy furnishes this love story with a perspirational passion, a far cry from his uncomfortable presence in the shallow and empty Aisha.

Indeed the two female protagonists in YSZ occupy a space that scoffs at the preoccupation with flirtation trivia and designer labels of the ladies in Aisha. Who cares about Armani when armaan is on hold? Chitrangda plays her part of the part-time crooner full-time wealth-chaser with a robust but feminine cunning. She is a temptress and a fighter. She packs a punch into her oomph. And when she finally surrenders to the overpowering devotion of Irrfan’s character she transforms into a woman with a conscience.

About time, we must say. The conscience is a scarce commodity in Sudhir Mishra’s films. The characters are wild boorish misfits who probably bathe once every week, go to the temple only to steal the deity’s jewellery, and think the cinema of Ram Gopal Varma is a joke. Indeed gangsterism acquires an extended sense of humour inYSZ. One wishes the film had gone easy on the expletives and profanities that flow unstoppered from the unwashed parched mouths of these people perched precariously and perversely on the precipice of doom.

Garnished with innovative music (Nishat Khan and Abhishek Ray) and camera work (Sachin Kumar Krishnan) that captures Delhi in all its eccentric quirky askew glory, YSZ has stand-out performances by Arunodoy Singh, Chitrangda Singh, Aditi Rao Hydari, Saurabh Shukla, Sushant Singh and Yashpal Sharma. But it’s Irrfan Khan who leaves the deepest wound on the bloodied face of this savagely funny film. He is able to put across all the turmoil and confusions of an otherwise-hardheaded man who can’t understand his burst of lust-free passion for a girl of dubious means and even more dubious morals.

Yes, the narrative meanders. We often don’t know what it’s looking for. Just like the characters who are lost in a labyrinth of kidnapping, embezzlement, fornication and other forms of self-pleasuring. The people in Mishra’s movie are virtual masturbators. They are forever seeking self-gratification through means that are quite outrageous from the outside though perfectly explicable from the perspective of the perpetrators. We can’t really get close to these clowns of criminality. They are far too gone.

Yeh Saali Zindagi is like of those nightmares that you have probably seen on a feverish night. The acts of injustice perpetrated by the characters nowhere suggests that they are compelled by circumstances to act as criminals. These people just can’t help being bad.

And who are we to judge them, when we so much enjoy watching their sociopathic manoeuvres?

Brutal, savage funny and violent YSL is not for the weak-hearted. The language is so colourful that you wonder why beeps occur in the midst of torrent of abuses questioning everyone’s parentage and wondering at what shape and size object would best fit into the nearest posterior.

To beep or not to beep, is definitely not the question for the characters. They couldn’t be bothered less. Up yours.

Dear John

A soldier boy named John (Channing Tatum) and a student girl named Savannah (Amanda Seyfried) fall in love under a full South Carolina beach moon while he's on leave and she's on college break in Dear John. When John goes back to his army unit and Savannah goes back to her dorm, they write each other letters — hence the title of this perfunctory weepie, a determinedly uninteresting, sanded-down, prettied-up adaptation of Nicholas Sparks' already taste-tested 2006 best selling novel of the same name. But since the phrase ''Dear John'' also traditionally refers to the kind of letter a girl writes a boy when she wants to break up with him, readers and non-readers alike won't be surprised when romantic heartbreak alters the course of this tremulous saga. Lasse Hallstrom (The Cider House Rules) directs with a softness that makes even combat look tranquil.

The subplot about autism is its own topical distraction, as it is in the book. So's cancer. You might think that's enough of an assortment plate of issues to work with, but the producers thought otherwise: This may be the rare adaptation of a mass-market best-seller that adds complications in, rather than cuts them out. As a result, screenwriter and coproducer Jamie Linden (We Are Marshall) is kept busy writing stilted speeches for John to deliver likening himself to a coin, minted in the U.S. Army. John's dad (Richard Jenkins), you see, collects coins.

In such an overworked project (with a premise-busting epilogue that appears to have been added at the last minute), Tatum (G.I. Joe) and Seyfried (Mamma Mia!) are all the more welcome. Fresh, comely, and unpretentious, they bring real warmth and believability to the early scenes of young love. Ironically, they make the bond between John and Savannah look so natural that the ''dear John'' turn in their relationship makes even less sense than it does in the book. But that, dear reader, is something to ask the author, not this weightless movie.

Transylmania

A no-stars, no-plot, no-point vampire spoof about a group of coeds studying abroad in a haunted castle, Transylmania boasts the kind of acting and direction usually relegated to the adult section of your local video store. It's tempting to say ''avoid at all costs,'' but truthfully, everyone should see something this bad at least once, if only to help us better appreciate the comparatively brainy merits of works like Eurotrip, Freddy Got Fingered, and the modern-day plague of movies with titles ending in Movie.

Gentlemen Broncos

Badly homemade popcorn balls figure in Gentlemen Broncos. So do badly homemade garments and, especially, badly homemade science fiction written by Benjamin (Michael Angarano), a fantasy-obsessed, home-schooled Utah teen who titles his proudest manuscript Yeast Lords: The Bronco Years. Yet even as filmmakers Jared and Jerusha Hess wallow in the comedic possibilities of kitsch, the husband-and-wife duo dare their audience to pass judgment on the worth of those balls, those clothes, and those really bad stories. As they did in Napoleon Dynamite and Nacho Libre, the Hesses claim to celebrate the amusing qualities of misshapen people and their misshapen dreams, insisting that amateurism and bad taste (both in filmmaking and in life) are intentional artistic choices. The audience may have bought the act in Napoleon Dynamite. But this time, the act bombs.

The one saving grace of such a relentlessly unappealing movie may be that the emperor's-new-clothes moment has arrived: Bad taste is sometimes just a vice, and amateurism in filmmaking is no virtue. In Broncos, Benjamin is sent to a teen writers' camp by his warmhearted but tasteless mother (Jennifer Coolidge even she looks depressed by the role). And there his manuscript winds up in the hands of competing plagiarists. A pompous, formerly best-selling fantasy novelist (Flight of the Conchords' Jemaine Clement) steals the plot for his own book, while blithely untalented young artistes (Halley Feiffer and Nacho Libre's rubbery Hector Jimenez) cannibalize Yeast Lords as a movie. Gentlemen Broncos then degenerates into an aggressively crappy dramatization of Benjamin's original, dorky tale with Sam Rockwell as the hero. It's hard to distinguish between the awfulness of the character and the crudeness of the performance. So why bother?

Sexy And Creepy!!!

Check out this just released poster for the new horror adaptation of Oscar Wilde's The Picture of Dorian Gray.

Prince Caspian himself, Ben Barnes, looks creepily fantastic as the rich, superficial Gray character, who wishes his portrait would age instead of him.

When it does, Gray must fight the evil monster that lives within the portrait.
Spooky!

Dorian Gray comes out Sept. 9th.
Are U interested in seeing this flick?

Disclaimer

Hottest Celebrity Gossip acknowledges that though we try to report accurately, we cannot verify the absolute facts of everything posted. Postings may contain fact, speculation or rumor. We find images from the Web that are believed to belong in the public domain. If any stories or images that appear on the site are in violation of copyright law, please e-mail at taheena@gmail.com and we will remove the offending information as soon as possible.