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Richa Gangopadhyay Launches Her Website

2010-03-30T00:28:00.000-07:00

Leader actress Richa Gangopadhyay has joined the league of those celebrities who own a website of their own. The intention, of course, is to keep her fans updated with her latest moves and have a platform to get candid feedback from them.

Speaking at the launch ceremony of the website held at a hotel, the actress said, " My website, www.richagangopadhyay.com, deals in with all the detailed information about me on and off the screen including my Profile, Gallery, Latest News Updates and Blog where I can interact with all my fans, have a forum to post their views, reviews of my newly-released movies, Fan Page for all my fans, Videos and more. I am happy with all the support given by my co-stars Rana, Priy Anand, director Shekar Kammula, producer AVM productions, other cast and crew of Leader, my fans, well wishers, print and tv media ". She also thanked Cartel Software Pvt. Ltd., which designed her website,

The actress was crowned Miss India USA in New Jersey in December 2007 and has debuted in Tollywood in 2010. She has two films slated for release this year.

CLICK HERE FOR RICHA'S WEBSITE

You Can Also Join Her At FACE BOOK or TWITTER

CLICK HERE FOR RICHA's EXCLUSIVE COMPLETE PHOTO GALLERY

Ileana At Superia Shampoo Promotional Event

2010-03-22T03:23:00.000-07:00

Ileana On Ramp Like An Angel

2010-03-22T03:17:00.000-07:00

Hansika Motwani at Mobile Store Opening

2010-03-22T03:11:00.000-07:00

Anushka Hot Collection

2010-03-22T03:01:00.000-07:00

Amrita Rao Cute Photos

2010-03-22T02:50:00.000-07:00

Amala,Richa,Priya @ KIMS Ribbon Awards

2010-03-22T02:45:00.000-07:00

Akshara Latest Photos

2010-03-22T02:34:00.000-07:00

LAHORE is a small little Gem

2010-03-21T06:26:00.000-07:00

Release Date : March 12, 2010

Taran Adarsh Rating :: 3.5/5

Cast :: Aanaahad,Shraddha Das,Farooq Sheikh,Nafisa Ali

Music :: Hitesh Soni,M M Kreem,Wayne Sharp

Producer :: Vivek Khatkar,J. S. Rana

Director :: Sanjay Puran Singh Chauhan

Banner :: Sai Om Films Pvt Ltd

A title like LAHORE gives you the feeling that it's an Indo-Pak story. The fact is, it is, but it's about kick-boxing, a sport that hasn't been presented on celluloid before, at least on the Hindi screen. Cricket, boxing, hockey and football have found their way on the Hindi screen, but kick-boxing, not to my knowledge.

Sure, there are references to the precarious Indo-Pak relations in a few sequences, but let's get one thing clear. This is not a 'war film'. There's no slogan-shouting or Pak-bashing here. There's no jingoism either. In fact, the culmination to the story -- a shocker, which is sure to raise eyebrows -- is absolutely outstanding and will work with both the nations.

LAHORE isn't about kick-boxing only. It's about relationships -- between two nations and also between two brothers -- with a strong undercurrent of emotions. It's the emotional quotient, besides the penultimate do-or-die match, that tilts things in its favour.

Final word? Take a trip to LAHORE. If you're a sportsman or even if you're not, catch this one for sure!

The selection of the Indian kick-boxing team is to be done. The final stage of qualification is in process. Amidst all this there is a minister [K. Jeeva], who wants his favourite participant to be selected; a coach [Farooque Shaikh], who wants merit to be the order of the day; an aspirant [Sushant Singh], who dreams to qualify purely on the basis of his merit; another aspirant [Kelly Dorji], who is over-confident, well connected and aims high to represent India.

The focus shifts to Kuala Lumpur. Two opponents, Dhirendra Singh [Sushant Singh] from India comes face to face with Noor Mohammad [Mukesh Rishi] from Pakistan. But an unexpected incident takes place. The sports fraternity stands numb.

The two nations meet in Lahore for a fresh kick-boxing tournament. This time, Noor Mohammed comes face to face with Virendra Singh [Aanaahad], Dhirendra's brother. Winning the game is not the only thing on his mind. Virendra wants to settle some old scores and restore the lost pride of the nation.

Debutante director Sanjay Puran Singh Chauhan gives you an insight of what to expect at the very start of the film. Thereafter, he unravels two tracks that run concurrently all through the first hour. The first track pertains to the relationship between the brothers and the second, the two neighbours -- India and Pakistan -- preparing to outdo each other in the boxing ring.

The highpoint of the film are the kick-boxing duels -- in Kuala Lumpur first [first half] and Lahore [second half] later. The sequence at the interval is shocking and one looks forward to an equally exhilarating second hour.

But the story dips in the post-interval portions, primarily because you know where it is headed. The subtle romance between Aanaahad and Shraddha Das is well knitted, but a cricketer [Aanaahad] getting chosen to represent India for an altogether different sport [kick-boxing] is a bit difficult to absorb, although the director has justified the decision by depicting sequences where Aanaahad is shown getting trained in kick-boxing. Yet, despite that, it appears like a cinematic liberty.

But the moment the Indian team sets foot in Lahore, right till the culmination, the film regains the lost ground and moves into a completely new zone. The matches, shot deftly, are pulse-pounding and even if you're not a sportsperson or haven't watched a kick-boxing tournament before, you can't help but remain hooked to the proceedings. The fight-to-finish duel is simply outstanding!

Debutante director Sanjay Puran Singh Chauhan has the makings of a highly skilled storyteller. The film has won applause and awards at various international film festivals and very deservingly so! Aiding the director in his mission are two people -- the person who executed the kick-boxing sequences [action director: Tony Leung Siu Hung] and the cinematographer [Neelabh Kaul], who has captured them with such precision. There's not much scope for music [M.M. Kreem] in the film, while the background score [Wayne Sharpe] is effectual. The production design [Kesto Mondal] deserves special praise.

Farooque Shaikh is top notch. Saurabh Shukla compliments him well. Sabyasachi Chakraborty is incredible. Sushant Singh enacts his part efficiently. Shraddha Nigam is good. Mukesh Rishi conveys a lot through silence. Shraddha Das carries the Pakistani look well. Nafisa Ali is restrained. Ashish Vidyarthi is proficient. K. Jeeva is perfect. Kelly Dorji impresses. Nirmal Pandey gets minimal scope.

As for Aanaahad, it's the role of a lifetime. It may not be a conventional launch, but the fact is that the role seems tailor-made for him and he performs it with gusto.

On the whole, LAHORE is a small little gem that takes you by surprise and catches you completely unaware. The finale in the boxing ring itself is worth the price of the ticket and more. I suggest, you make time for this one.

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SHAAPIT is Truly a Scary Movie

2010-03-21T06:12:00.000-07:00

Release Date : March 19, 2010

Taran Adarsh Rating :: 3/5

Cast :: Aditya Narayan,Shweta Agarwal,Rahul Dev

Music :: Chirantan Bhatt,Nazam Sheraz,Aditya Narayan

Producer :: Vikram Bhatt

Director :: Vikram Bhatt

Banner :: ASA Film Pvt Ltd

Post RAAZ and 1920, you expect an enthralling horror film, with chills aplenty, from Vikram Bhatt. You presume his third horror film SHAAPIT would be even more scarier than his earlier works, mainly because Bhatt is now a seasoned player, as far as this genre is concerned.

SHAAPIT also makes a startling promise in its adverts - 'Warning: Extremely frightening'. Now that's quite a tall claim, isn't it?

Scary movies made in Bollywood, generally, have two stories rolled into one film: The past, when the wrong was committed and the present, when the past comes to haunt the young couple. Coincidentally, both RAAZ and 1920 followed this concept and so does SHAAPIT. Only this time, the story dates back to 300 + years and then comes back to the present day.

The unspoken and unwritten rule for horror films is simple: They ought to scare you at the right places and also, the culmination ought to be the best part of the story. SHAAPIT succeeds in giving you those jhatkas at several points [there are some genuinely chilling scenes] and the culmination to the tale, although a bit lengthy, keeps you involved in the proceedings.

Final word? With SHAAPIT, Vikram Bhatt raises the bar for horror films made in India. Full marks to Bhatt for making that one kick-ass horror thriller, which easily ranks amongst the best in this genre in terms of plot, setting, technique and performances. Go, get scared!

When Aman [Aditya Narayan] proposes to Kaaya [Shweta Agrawal] and as soon as Kaaya wears the engagement ring and the couple drives off together, their car takes a spin and bounces off the road, almost killing both of them.

When Kaaya's parents [Murli Sharma, Nishigandha Wad] hear about their daughter's accident, they rush to the hospital to find an engagement ring on their daughter's finger. Distraught, the father explains to the young couple that three hundred years back, their family had incurred the curse of an angry Brahmin and that curse did not allow the daughters of their family to be married.

Aman meets Pashupathi [Rahul Dev], the master of the ways of the spiritual world. Pashupathi tells Aman that in some cultures, there was a belief that a generational curse worked much after even the person who had uttered the curse was dead because, it was believed, that an evil curse when uttered stuck to an evil spirit and the spirit then became the keeper of the curse and it was the duty of that evil spirit to make the curse come true generation after generation.

Aman asks Pashupathi if there was a way to destroy the spirit and get rid of the curse. Pashupathi tells him that there was a way, but it was filled with peril. If he sets about to hunt and destroy a spirit, then the spirit would also know that it was being hunted. Aman tells Pashupathi that he would fight for his love... and so begins their journey.

Vikram Bhatt merges the past and present beautifully. The explanation offered at the very start - a spirit continues to safeguard the curse for centuries - is something that Indians, generally, would relate to.

A number of sequences bear the unmistakable stamp of this refined storyteller - Vikram Bhatt. Sample these...

* While returning from a late-night party, Shweta watches an old woman sleeping in the middle of the road;

* Aditya's efforts to get a particular book from the library;

* Aditya and Shweta's encounter in a dilapidated cinema hall;

* Shweta waking up in the middle of the night and not finding Aditya, Rahul Dev and Shubh Joshi in their respective beds;

* The interaction with the maharaja's soul;

* Shubh Joshi going back in time;

* The entire climax sequence.

On the flip side, the portions depicting Shweta slipping into coma and her subsequent revival towards the end looks formulaic. Ironically, Shweta continues to wear the engagement ring in a chain [in the neck], even while in coma, which would've made it easier for the spirit to eliminate her, but it doesn't. Also, Bhatt and the writers should've established in a sequence or two about the step-wife of the king vowing to take the angry Brahmin's curse forward, since both were different stories.

Yet, despite the minor hiccups, Bhatt keeps you hooked to the proceedings. Those looking for chills, well, SHAAPIT has it in plenty. Also, his storytelling is super-stylish. Chirantan Bhatt's music is tuneful, although one misses the haunting tunes of RAAZ and 1920. The background score [Raju Rao] heightens the impact of the chills. Pravin Bhatt's camerawork is eye-filling. Dialogues [Girish Dhamija] are appropriate. The production design [Rajat Poddar] is excellent, especially the set of the palace. Special effects are amongst the best we've seen in Hindi movies. Costumes [Rahil Raja] are in sync with the demand of the characters.

Aditya Narayan is a show-stopper. It's hard to believe that someone can be so natural in front of the camera in his very first outing. Given the right roles, there's no stopping this bundle of talent. Shweta doesn't really get the scope. Besides, she is sidelined in the second hour. Rahul Dev is wonderful, underplaying his part with restraint. Newcomer Shubh Joshi oozes tremendous confidence. A fine actor! Murli Sharma and Nishigandha Wad are decent. Natasha Sinha excels.

On the whole, SHAAPIT is truly a scary movie, which comes across as a worthy follow up to RAAZ and 1920. If you are a fan of ghost stories, SHAAPIT should be on your list of 'things to do and watch' this weekend. Go for it and be prepared to be spooked!

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LOVE SEX AUR DHOKHA is Original, Innovative and Ground Breaking

2010-03-21T06:01:00.000-07:00

Release Date : March 19, 2010

Taran Adarsh Rating :: 4/5

Cast :: Anshuman Jha,Shruti,Raj Kumar Yadav,Neha Chauhan..

Music :: Sneha Khanwalkar

Producer :: Ekta Kapoor,Shobha Kapoor,Priya Sreedharan

Director :: Dibakar Banerjee

Banner :: Balaji Telefilms Ltd,ALT Entertainment,Balaji Motion Pictures

Be forewarned...

* LOVE SEX AUR DHOKHA is not the archetypal/mundane/formulaic stuff that one has grown watching.

* LOVE SEX AUR DHOKHA is not for the faint-hearted.

* LOVE SEX AUR DHOKHA is not for the orthodox/conformists/moral watchdogs of society.

First things first! It's not another version of Steven Soderbergh's SEX, LIES, & VIDEOTAPE [1989], as widely rumoured. Now let me hit the nail on the head. Don't expect the expected from Dibakar Banerjee. LOVE SEX AUR DHOKHA, helmed by the director of KHOSLA KA GHOSLA and OYE LUCKY! LUCKY OYE!, is a complete departure from what we have witnessed so far. It talks of voyeurism [it has been divided into three stories, each focussing on different plots pertaining to voyeurism]. It is brave. It is scandalous. Most importantly, it is path-breaking. You will either love it or loathe it.

LOVE SEX AUR DHOKHA is not an easy film to comprehend either. The constant shaking of camera [it's a digital film with a hidden camera playing a character by itself] may bother you initially, since this is the first time that a storyteller has used this technique in Bollywood to narrate three different stories in one film. But the material is so compelling [screenplay: Dibakar Banerjee and Kanu Behl] and the stories so captivating that you absorb this storytelling technique within a few minutes of its commencement.

Dibakar makes an attempt to tell you that there's no privacy in today's age, courtesy cell phones, spy cams, sting operations and MMS. Technology is not just a boon, but also a bane and the film reiterates this fact.

Final word? LOVE SEX AUR DHOKHA signifies the changing face of Hindi cinema. Ekta Kapoor's first foray into experimental cinema has all it takes to be a cult film that might just trigger off a new trend in Bollywood. It's courageous, disturbing and yet entertaining!

Story I: In a film institute in North India, a student gears up for his diploma film. With an amateur small-town cast, Rahul starts filming a love story and eventually falls in love with his heroine Shruti. They elope, get married and dream of a blissful future.

Story II: Adarsh installs security cameras in a small, upcoming 24-hour department store. In desperate need of cash to clear off his debts, Adarsh hits upon the idea of making a porn clip through the security cameras in the shop. The victim? Rashmi, who works in the store.

Story III: Prabhat - a sting journalist - attempts a series of failed suicides. He meets Naina, who is also trying to commit suicide. She had been promised a music video by Loki Local, a Hip Hop pop star. She slept with him for the same, but the video finally went to a Russian blonde. Prabhat and Naina decide to do a sting operation.

The first story starts off as a spoof on Bollywood, but you gradually realize that it bears an uncanny resemblance to at least two real-life love stories, which have had a heart-rending ending and which continue to remain in news to this date.

The second story - the MMS scandal - is scary. Just Google on MMS scandals and you will realize that so many girls have been victims of this technology. Unfortunately, in several reported cases, the MMS clips were distributed by the boyfriends themselves.

I'd like to add something more about this story... The sequence, however, is not meant to be seen as individual scene because it's an integral part of the story. The nudity is not aimed to titillate, but repel you. The scene is so stark and shot so pragmatically that at the end of the story, you start feeling distressed.

The third story - a sting operation - mirrors an actuality, yet again. You can't deny that the casting couch exists and people do resort to shortcuts to attain name, fame and money overnight. The sequence involving the Hip Hop pop star and the wannabe actress seems straight out of life. Also, we get a glimpse of how we consume news these days and journalists are forced to cover entertainment, instead of facts.

Director Dibakar Banerjee has a unique sensibility and a keen eye for the unconventional. His choice of subject and decision to shoot the film on a digital format needs to be lauded and also the intertwining of the three stories. LOVE SEX AUR DHOKHA is sure to shake you. It's provocative and steamy, but it's scandalous and startling as well.

There's just one song in the narrative - the title track - which is already popular thanks to its catchy tune and filming. The DoP [Nikos Andritsakis] does a splendid job. Seems like the film has been shot on a handycam, security cameras placed in shops, underwater cameras and spy cameras, which is, again, very innovative. Editing [Namrata Rao] is perfect.

There was a need for fresh faces in order to portray the realism and the performances of each and every member of the cast are superb. Anshuman Jha [as Rahul], Shruti [as Shruti], Raj Kumar Yadav [as Adarsh], Neha Chauhan [as Rashmi], Amit Sial [as Prabhat], Arya Devdutta [as Naina] and Herry Tangri [as Loki Local] are amazing actors all.

On the whole, LOVE SEX AUR DHOKHA is original, innovative and ground-breaking cinema, which will shock and provoke you. The film is definitely not for the faint-hearted or those who swear by stereotypical fares, but for those who yearn for a change. The youth, especially in metros, should fall hook, line and sinker for this one. The volatile title as also the explosive content should make this low-cost film [budgeted at approx. Rs. 1.5 cr.] a commercial accomplishment!

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Taj Mahal : Is ‘Love’ a Waste of Time?

2010-03-21T05:18:00.000-07:00

Release date: 20th March 2010

123Telugu Rating: 2.75/5

Director : Arun Singaraju

Music Director : Abhiman Rai

Producer : Shivaji

Starring : Shivaji, Shruthi, Kota Srinivas Rao, Brahmanandam, Nasser, M.S. Narayana, Venu Madhav, Sangitha, Kalpana and Pragathi and Others...

Sivaji’s latest film ‘Tajmahal’ is also his first as a producer. ‘Tajmahal’ is also a debut venture for Arun Singaraju who directed this film. Shruti made her debut as a heroine in this film. ‘Tajmahal’ has an unlikely storyline especially considering that most of the love stories made are pro-love. It narrates the story of an engineering student who’s madly in love with a girl and how does it impact his life.

What is it about : Sivaji stars as Ajay, a engineering student who’s madly in love with Shruti (Shruti). He has been vying for her attention for almost 3 years with little success. One fine day, he asks her out for a coffee and the two strike a good friendship. When everything seems to be going in Ajay’s favour, he doesn’t realize that Shruti is in love with another guy (Kumar). Interestingly, Kumar is Shruti’s phone friend and she has never met him or seen him. What happens when Ajay proposes to Shruti? Does she accept him or does her love for Kumar pull her back? That forms the rest of the story.

What is Good: ‘Tajmahal’ has an interesting premise where the girl doesn’t know whom she has fallen in love with. This aspect of her characterization runs through the entire length of the film and it has been effectively handled by Arun Singaraju. The first half of the film has nothing much to boast about; however it lays the foundation for the actual story which is unraveled in the second half of the film. The second half of the film turns into a heartbreaking story with overwhelming gloom. It is here that the cast of the film excel and do justice to their roles. Sivaji fits into the shoes of his role with great ease. Although his styling is poor in the first half, he’s got his expressions right. Raghu babu, Kota Srinivas Rao and Nazar perform well in their roles. The biggest surprise is Shruti, who makes a confident debut. She’s beautiful onscreen and delivers a credible performance throughout the film. The only drawback was her over dependence on Kumar to make all the key decisions!

What's Bad: Sivaji’s characterization in first half seems passable but the moment the actual twist in the film is revealed, it throws up lot of questions. The basic problem is his approach to make Shruti fall in love with him. Had he thought of a more subtle way to convey his true feelings, the film probably would have been different. He always approaches Shruti as a stranger and tries to build a relationship from scratch, while Shruti is madly in love with a stranger. In the second half, Ajay’s eagerness to do anything for his love lacks conviction. He knows that there’s no hope left in his love story, yet he carries on to do his duty as a lover! Cameo appearances by Venu Madhav, Brahmanandam are good to an extent but they are out of sync with the storyline. The same goes for Aarti Agarwal who makes her cameo in ‘Mayadaari Maisammo’ song.

Technical Department: Most of the film has been shot in Vizag and some of the songs in Bangkok. The visuals of the sea in couple of songs are brilliantly canned and they compliment the character’s sadness. Editing is alright although it could have been better in first half. The rerecording could have been much better as there were quite a few instances which didn’t have a proper lip sync. Abhiyan’s music is good and it touches the right chord. Arun Singaraju also handled the screenplay apart from directing the film. ‘Tajmahal’ is a good debut film as a director for Arun. If he had taken more care while unraveling the story in first half and Sivaji’s characterisation, it would have been a much better film.

Bottom Line: For a long time, films have been used as a medium to convey a message to the audience. While some film makers chose to let the audience interpret the film, the other have managed to forcibly convey a message loud and clear. So then, what is the message conveyed in ‘Tajmahal’? Contrary to what ‘Tajmahal’ stands for, the film drives home the point that love should take a backseat, when you have to choose between love and parents. It tells you that love is just a part of our lives and we shouldn’t neglect our studies, career. Will this voice be heard amidst scores of films which profess ‘Love is Life’? Well, that remains to be seen. And I am not trying to convey a message, the film is open for your interpretation!

P.S: I still don’t understand why Shruti never used hundreds of Social Networking sites like Face book, Twitter to find out who Kumar is! She had his phone number and the film itself is set in 2009!!! She should have, don’t you think?

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Yagam : Much ado about Nothing!

2010-03-21T05:04:00.000-07:00

Release date: 19th March 2010

123Telugu Rating: 2.5/5

Director : Arun Prasad P A

Music Director : Mani Sharma

Producer : Raju, Praveen

Starring : Navdeep, Bhoomika Chawla, Kim Sharma, Ali, Brahmanandam and Others...

Navdeep, Kim Sharma and Bhumika starrer ‘Yagam’ is a pretentious film which tries to ‘experiment’ too much. The problem however isn’t that it experiments too much, it’s just that it’s a mediocre film in the end. Directed by Arun Prasad, the film has been produced by Raju and Praveen on ‘Silver Screen Movies’ banner. The film is a revenge drama which trails the life of a bartender as he mysteriously traverses the streets of Bangkok.

What is it about : Navdeep stars as Danny, a bartender in Bangkok, who’s leading a carefree life. He’s in a live-in relationship with his colleague, Sophie (Kim Sharma) and also both of them are love with each other. One day, Danny has a hallucination and dreams the death of a business man, Sanjay Arya (Rahul Dev). Sophie ignores his hallucination and later on Danny’s hallucinations reveal the death of an air hostess and another minister of Thailand Government. The shocking part is, all of them come true. Why does Danny hallucinate? How do all these three people die? This forms the rest of the story.

What is Good: The only thing the film gets right is a slick camera work by Bharani K Dharan. The fast moving camera coupled with some good action choreography gives a sense of urgency as the story moves through the crowded streets of Bangkok. Of the star cast, Navdeep is alright as Danny but it would have been better had he underplayed his character a bit. He’s good in parts especially in the action sequences. Kim Sharma sizzles in her role. Not that she offers anything new acting per se; she’s just good in her role. Bhumika makes a guest appearance in the film as an air hostess and she’s breezes through her scenes. Ajay and Harshavardhan are perhaps the only saving grace when it comes to acting in the film. Their dialogues and characterization as cops who are Telugu movie buffs partially saves the film from being an absolute bore.

What's Bad: ‘Yagam’ is a simple story which tries to adapt a different screenplay to increase your interest. Truth is it actually works up to a point. However, when the entire jig saw puzzle falls in place, it leaves a scent of a mediocre drama. A sense of déjà vu prevails, something which we have seen in plenty of other films in the past. Even Danny’s hallucinations look silly and out of place after a point. The story could have been more interesting had Ajay’s investigation commenced right after Sanjay Arya’s (Rahul Dev) death. Ajay has been portrayed as a brilliant cop with amazing power to imagine, the exact modus operandi of these deaths which he believes are in fact murders. His investigation could have turned this story into a cat and mouse chase had he entered the scene a bit earlier.

Technical Department: Bharani K Dharan’s cinematography is good, although the color grading, lighting looks quite pale. Mani Sharma’s music is hardly impressive and the same goes for the lyrics. Marthand K Venkatesh’s editing could have been a lot better in the first half of the film. It’s so haphazard that it’s bound to confuse the audience rather than evoking excitement. Arun Prasad, who had earlier directed couple of sensible films like ‘Thammudu’ and ‘Gowtham SSC’, falters a bit in his third attempt. His attempt to make a ‘different’ film is praiseworthy; however, it would have made more sense had he got his screenplay and narration right.

Bottom Line: The revenge drama depicted in ‘Yagam’ has been abused so much in Telugu cinema that it hardly hits you. The only difference here is that it has new faces, shot in Bangkok with people speaking Thai most of the time. The track where Ajay reveals the modus operandi of the crimes is one of the very few things worth mentioning in the film. My favourite scene of the film is when the cops take a dig on producers, directors in Telugu Cinema. The cop says those who have been protesting against piracy are the same ones who resort to piracy of English, Hindi and other language films to come up with new stories. It’s such a pity, perhaps bad timing, that this dialogue coincides with the recent issue raked up in the film industry. Overall, ‘Yagam’ is a mediocre film which tries to be too pretentious than what it’s actually worth. I wonder if the film had been any different had someone from the cast or the crew ‘predicted’ the fate of the film, just like what Navdeep does in the film. As far as from which film(s), has ‘Yagam’ been inspired, I would leave it for the director Arun Prasad to answer!

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Geetha Arts Planning Movie With Naga Chaitanya

2010-03-14T03:52:00.000-07:00

Naga Chaitanya who has become an overnight star with his latest release ‘Ye Maya Chesave’ will be soon seen in Geetha Arts film. According to sources, Allu Aravind is planning to rope in Naga Chaitanya for a film under his mega banner, Geetha Arts.

Naga Chaitanya who is currently enjoying the success of his ‘YMC’ is getting ready for his third film under the banner Kamakshi Kala Movies with D.Shiva Prasad Reddy as producer.

Details of Geetha Arts project are not revealed yet and the project is in the first stages of discussion. Naga Chaitanya’s seems to be going great in the industry by bagging offers from top banners in tollywood.

How Do Software Engineers Sing The Song of 3 Idiots?

2010-03-13T06:03:00.000-08:00

Saari umar hum

Coding kar ke jee liye

Ek pal to ab humein jeene do

Jeene do

Saari umar hum

Errors fix kar ke jee liye

Ek pal to ab humein jeene do

Jeene do

Saari umar hum

Nightouts kar ke jee liye

Ek pal to ab humein jeene do Jeene do

Na na na….Na na na….Na na na….Na na nana na….

Give me bed of mine....

Give me some peace of Mind... ..

Give me another night...

i wanna sleep once again..

Kandhon ko programming

Ke bojh ne jhukaya

Faltu program banana to khud

Team Lead ne sikhaya

50% without errors bana to botal chadi,

varna neend udi.

Likh likh kar code hatheli par

Functions, procedures, modules ka chaala

Repeated Programming errors ne poora

Poora jawani ka maza jalaa daala

Jawani to gayi

Sar k bal bhi gaye

Ek pal to ab humein

Jeene do jeene do

Jawani to gayi

Girlfriend bhi gayi

Ek pal to ab humein

Jeene do jeene do

Saari umar hum

coding kar ke jee liye

Ek pal to ab humein jeene do

Jeene do

Na na na….Na na na….Na na na….Na na nana na….

Give me bed of mine....

Give me some peace of Mind... ..

Give me another night...

i wanna sleep once aggaain..

Give me bed of mine....

Give me some peace of Mind... ..

Give me another night...

i wanna sleep once aggaain..

Na na na….Na na na….Na na na….Na na nana na….

'Aaptha Rakshaka' Remake Will Have Venkatesh

2010-03-13T05:55:00.000-08:00

Kannada blockbuster Aaptha Rakshaka which is breaking all time Kannada records is being remade in Telugu with Venkatesh in the lead role.

Tollywood producer Bellamkonda Suresh has acquired the remake rights of the movie after a tough fight. He will be producing the movie under Sri Sai Productions with Victory Venkatesh portraying the character of Vishnuvardhan in original Aptha Rakshaka. P.Vasu who earlier given blockbuster hit Chanti with Venkatesh will be directing the movie.

Why Sachin Is Great ! ! !

2010-03-13T05:46:00.000-08:00

Sister Of Jr.NTR (Exclusive Photo)

2010-03-13T05:39:00.000-08:00

'Remember Me' Movie Review

2010-03-13T02:30:00.000-08:00

ABOUT RATING :: 3.5/5

Starring : Robert Pattinson, Emilie de Ravin, Chris Cooper, Lena Olin, Tate Ellington

Directed by : Allen Coulter

Produced by : Carol Cuddy, Robert Pattinson, Nick Osborne

Genres : Drama and Romance

Running Time : 1 hr. 53 min.

Release Date : March 12th, 2010 (wide)

MPAA Rating : PG-13 for violence, sexual content, language and smoking.

Distributors : Summit Entertainment, LLC

Robert Pattinson's been keeping secrets from us. Pattinson, best known for playing Edward Cullen in the Twilight film series, can in fact act and can carry a film that has nothing to do with vampires or werewolves or high school romances. In the Twilight series pretty much all we've seen Pattinson do is look all dark, intense, and broody. There hasn't been much actual acting required of him thus far as Edward. But his performance in Remember Me makes you wonder where this guy's been hiding and why hasn't he shown off his talent - and not just his stylishly tousled bedroom hair - before this.

Remember Me isn't your typical Hollywood romantic drama. In fact, the film's final act is diametrically opposed to the ending most studio productions would tack on this sort of film. Whether or not you embrace the twist at the end, and I'm still going back and forth with myself over whether it was a smart choice or a stupid move, the first two-thirds of Remember Me are well acted and smartly written. And even if you disapprove of just where the film goes, the story building up to the final climatic twist is moving and real. Remember Me is not a disposable romance that's getting attention just because Pattinson's in it. This is a solid film with minor flaws - and a highly controversial ending.

The Story

A flashback shows us a woman and her young daughter attacked by muggers while waiting for a New York subway train. The mother moves in front of her child, using her body as a shield to block the child from danger, but she's powerless to shield her daughter from what happens next. She's shot in the head and left for dead on the subway platform with her young daughter the sole witness to the tragedy. Fortunately, the girl's father is a cop and one of the first on the scene, and so she's immediately held and comforted.

Flash-forward 10 years to 2001 and we meet the rebellious Tyler (Pattinson). He's observing the anniversary of the death of his older brother with his divorced parents and younger sister, and the tension between he and his estranged father (Pierce Brosnan) is palpable. It's apparent the two haven't gotten along in years, and that Tyler is extremely protective of his sister, Caroline (Ruby Jerins), a sweet young girl with an old soul and a talent for painting. Their father, Charles Hawkins (Pierce Brosnan), pays little or no attention to his daughter, and Tyler doesn't let the fact he doesn't listen to Caroline pass by without calling him out on it. That's the relationship this father has with his surviving children.

Shortly thereafter, Tyler's out blowing off steam one night with his roommate/comic sidekick, Aidan (Tate Ellington), and the two get into a tangle with the police, in particular one officer who gets under Tyler's skin and in his face. Bruised and banged up, Tyler and Aidan are hauled off to jail, only to be reluctantly rescued by Charles and his high-powered lawyers. A few days later Aidan sees the officer (Chris Cooper) dropping his daughter (Emilie de Ravin) off at college, and decides the best way to get even for their hours in jail is for Tyler to hit on her. It's a bad plan and Tyler doesn't want to do it, but Ally's pretty and Tyler knows Aidan won't drop the subject until he gets his way.

Tyler's a one-night stand kind of guy, but he and Ally have a real connection. She's intelligent, quirky, speaks her mind, and yet clearly hasn't fully recovered from her own personal tragedy. That sense of shared loss, although not spoken of much openly, bonds the two. Tyler and Ally fall in love, and Tyler begins to heal a little, though he's still a pretty melancholy character. But the issue of why the pair met in the first place and Tyler's secret part in the 'getting back at the officer who arrested them' plan is an elephant in the room that has to be addressed. And saying anything more about where the story goes from that point on would be doing a major disservice to the film and its potential audience.

The Cast

Pattinson is much, much better in this touching romantic tale than he was in Twilight or New Moon. Of course, it helps that he's given more time to develop his character in Remember Me than he has been in the Twilight films. It also helps that he's playing opposite Emilie de Ravin in Remember Me, and the two have great chemistry. It's a solid performance and one that bodes well for Pattinson's career after Twilight's over. And de Ravin, best known for playing Claire on Lost, delivers a refreshingly honest performance as a young woman dealing with love and loss.

In supporting roles, Lena Olin as Tyler's mother, Ruby Jerins as his young sister, Tate Ellington as Tyler's roommate and supportive best friend, and Chris Cooper as Ally's over-protective police officer father all are terrific. But the standout of the supporting cast is Pierce Brosnan. In a pivotal scene, Brosnan and Pattinson square off over a conference table lined with Brosnan's associates. It's an intense and unexpectedly powerful scene that shows what both actors are capable of when given meaty material.

The Bottom Line

I'd love to discuss and debate the film's final act, but that would be completely ruining Remember Me. The final 15 minutes or so will seriously divide audiences, and I have to at least give screenwriter Will Fetters and director Allen Coulter credit for not taking the easy road out. They set up the ending from the very opening scenes, and they follow through to the bitter end, obviously aware of how the ending will split audiences.

Love it or hate where the film ultimately takes you, Remember Me will leave an impression. Even non-Pattinson fans will be moved by this bittersweet movie that packs quite a punch and is all about living life to the fullest.

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RIGHT YAAA WRONG : A Powerful Thriller

2010-03-13T02:04:00.000-08:00

Release Date : March 12, 2010

Taran Adarsh Rating :: 3.5/5

Cast :: Sunny Deol,Irrfan Khan,Eesha Koppikhar,Aryan Vaid,Konkona Sen Sharma.

Music :: Monty Sharma

Producer :: Neeraj Pathak,Krishan Choudhary

Director :: Neeraj Pathak

Banner :: Ikkon Pictures Pvt Ltd,Mukta Arts Ltd

Appearances can be deceptive. Somehow, I've not been able to connect to the promos of RIGHT YAAA WRONG. And now, after I've watched the film, I genuinely feel that the promos don't do justice to this taut thriller.

Also, I had strong reservations for this one. Sunny Deol, an A-lister at a point of time, had slipped into oblivion thanks to the wrong films that he chose to act in. Two factors that really go against RIGHT YAAA WRONG.

But never judge a book by its cover [in this case, its promos]. For, RIGHT YAAA WRONG is a gripping thriller with a taut courtroom drama that catches you unaware and surprises you, especially towards its post-interval portions.

Come to think of it, a plot like RIGHT YAAA WRONG is not easy to pen and narrate. The conflict between two thick friends and how they find themselves on the opposite sides of the law ought to be handled with gloves. Most importantly, when the tension reaches its peak, the culmination has to be razor-sharp and concurrently, justify both the sides' point of view. Fortunately, RIGHT YAAA WRONG hits the right note.

So what's the verdict? Is watching this fare right or wrong? It's right, I'd say!

Ajay [Sunny Deol] is a brave cop. An unexpected incident takes place and he wants his wife [Eesha Koppikhar] to kill him. Will a wife agree to kill her own husband? Why does Ajay want to kill himself?

Ajay and Vinay [Irrfan Khan] were the best of friends, but an intense rivalry leads to a battle for supremacy. A dramatic confrontation ensues, where Vidya [Konkona Sen Sharma], Vinay's sister, chooses to support Ajay in this chase of mind games and Vinay has to fight it out.

Let's face it, you don't take to RIGHT YAAA WRONG at the outset. The initial portions give an impression of been-there-seen-that to the viewer. But, gradually, RIGHT YAAA WRONG starts getting into the groove, when Sunny hatches a conspiracy of his death and asks his wife and brother to execute his plans. The interval point is indeed a shocker!

The film takes off in its second half, when Sunny sticks to his alibi, while Irrfan doesn't buy Sunny's statement and re-opens the case. The twists and turns in this hour, interspersed with courtroom sequences, which leads to an emotional finale, are simply spellbinding.

Director Neerraj Pathak shows immense potential. He had proved his credentials as a writer earlier [GHAATH, PARDES, APNE], but with RIGHT YAAA WRONG, he proves he's an efficient storyteller as well. Monty's music is strictly functional and the few songs in the narrative don't contribute much.

Sunny seems to get it right this time. He underplays his part beautifully. But it is Irrfan who lights fire in water and emerges the scene-stealer. He's excellent all through the second hour. Konkona stages an entry in the post-interval portions and makes a stunning impact in the courtroom sequences. Eesha Koppikhar is first-rate. Arav Chowdharry [Sunny's brother] enacts his part with conviction.

On the whole, RIGHT YAAA WRONG is a powerful thriller, with a knockout second half. However, the film faces strong opposition from two quarters - IPL cricket matches and the ongoing examination period. But a strong word of mouth should change the tide in its favour. Go, watch it... this one's a pleasant surprise!

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HIDE & SEEK : A Gripping Suspense Thriller

2010-03-13T01:52:00.000-08:00

Release Date : March 12, 2010

Taran Adarsh Rating :: 3/5

Cast :: Purab Kohli,Mrinalini Sharma

Music :: Gourov Dasgupta,Chirantan Bhatt

Producer :: Apoorva Lakhia,Laxmi Singh

Director :: Shawn Arranha

Banner :: Idiot Box Film,Moser Baer Entertainment Ltd.

Generally speaking, a film starring relative newcomers and helmed by a first-time director comes with zilch expectations. And if the film in question happens to be a suspense-thriller, the debutante director has to walk a tight rope. One false step and chances are he'd fall on his face.

Debutante director Shawn Arranha surprises you in his very first outing. It may not be the most captivating thriller you've watched, but there are moments that keep you hooked to the proceedings. Also, a suspense saga works if you continue to play the guessing game till the end and in this case, you can't tell who the culprit is. That is nothing short of a victory for this film!

On the flip side, the making could've been better in terms of production values and at times, it does give an impression of being a rushed job as far as the writing is concerned.

Love slasher movies? Watch HIDE & SEEK. It has ample adrenaline pumping moments!

They were kids - Om, Abhi, Jaideep, Imran, Gunita and Jyotika. And it all started as a game on a chilly Christmas night. But little did they expect that night that the game would change their lives forever. Twelve years later, while some still wrestled with memories of that fateful night and others left it buried deep within them, it was a past that came back to haunt them again.

Twelve years later, someone was bringing them all together. To play that game all over again. Six best friends turn into worst enemies when trapped in a shopping mall.

If you let logic take a backseat, chances are you'd enjoy this ride more. Just don't question how one person, single-handedly, kidnaps his friends the same night and assembles them at one location, without any help whatsoever. If you skip this gaffe, the journey ahead would be riveting in most parts.

It takes time to get used to the plot. It does get confusing when the film goes back and forth with regularity and you wonder, what is the director trying to say? But the jigsaw puzzle slowly gets solved in the post-interval portions, although the end sends out confusing signals.

In view of the fact that it is his first film, Shawn does a commendable job. Only thing, he should've simplified a few things, especially the end. The songs are okay, while the camerawork lacks finesse.

The performances by the lead actors are neat, with every member putting his/her best foot forward. Purab Kohli is super-efficient, as always. Arjan Bajwa gets the look and feel of the character right. Samir Kochhar leaves a strong impact. Ayaz Khan is decent. Mrinalini Sharma springs a pleasant surprise with a 'spirited' performance. Amruta Patki impresses as well.

On the whole, HIDE & SEEK is a gripping suspense drama that keeps you guessing till its end. Go for it, if a good suspense thriller is what you're looking at!

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Aakasa Ramanna : Badly Written Thriller!

2010-03-13T01:27:00.000-08:00

Release date: 12th March 2010

123Telugu Rating: 2/5

Director : Ashok

Music Director : Chakri

Producer : Manyam Ramesh

Starring : Allari Naresh,Shivaji, Rajiv Kanakala, Meera Jasmine, Gauri Pandit and Others...

‘Akasha Ramanna’ is the perfect example of how a ‘could have been’ brilliant thriller can turn out to be a test of patience, thanks to a poor script! Directed by Ashok, the film has been ‘inspired’ from a Hollywood film titled ’11:14’ which released in 2003. Interestingly this Telugu adaptation ‘Akasha Ramanna’ falls in the genre of hyperlink cinema, à la ‘Yuva’, ‘Babel’, ‘Vantage Point’ to name a few. The film starring Rajeev Kanakala, Naresh, Sivaji, Meera Jasmine and Gauri Pandit narrates a series of interconnected events on one ominous night which leads to tragic consequences.

What is it about : Rajeev Kanakala stars as Teja, who gets into trouble one night at 12:40 AM when he runs over an unidentified man under a drunken state. Elsewhere, Raana (Allari Naresh) struggles to find sources who could loan him Rs.5 Lakhs for his girlfriend, Isha (Gauri Pandit). He asks his friend Jai (Sivaji), who owns a super-market, for this amount. Tara (Meera Jasmine) also works in this super market. How does fate lead their lives criss-cross each other one fateful night forms the rest of the story.

What is Good: ‘Akasha Ramanna’ has a very interesting premise where fate has an important role to play. When people end up at the wrong place at the wrong time, it’s bound to create complications and in the end it leads to tragic consequences. Ashok, the director of the film, largely succeeds in introducing the characters in the first half where too many questions are left unanswered. This ‘hyperlink’ format in screenplay is perhaps one of the most interesting and largely untouched formats in Telugu Cinema till date. It’s good to see that an attempt has been made to adapt it, although the idea never makes an impact on screen. Out of all the stories, the most credible and well narrated is Rajeev Kanakala’s part when he runs over an unidentified person.

What's Bad: After a promising first half, the film spirals out of control when the jig-saw puzzle falls in place. The biggest problem with the film is a badly written script and lack of proper characterization especially that of Gauri Pandit, Meera Jasmine and Sivaji. The love triangle between Allari Naresh, Gauri Pandit and Meera Jasmine is poorly handled which is more painful to endure, thanks to oodles of cheesiness. Sivaji, who stars as Jai, delivers his lines without an iota of seriousness and the supposed ‘sarcasm’ in his tone is bland! I wonder, what was the ‘inspiration’ behind Venu Madhav’s role in this film? It’s disgusting to even imagine and the embarrassment is accentuated further due to the lame jokes written on the ‘member’! On the whole, ‘Akasha Ramanna’ fails to hit you hard because of poor writing in the latter half of the film.

Bottom Line: ‘Akasha Ramanna’ is a good example of what would happen if films are just ripped off from another language! You can’t just re-produce the same; the challenge is to adapt the concept to what’s relevant to the culture and sociological circumstances of our society. ‘Akasha Ramanna’ could have been better had it also followed the 90 minutes running time tradition which Hollywood movies generally have. With more than 140 minutes of run time, this film ends up testing your patience and also leaves a bad taste in your mouth. Pun intended! Two thumbs down for ‘Akasha Ramanna’, it probably would have been a better idea to understand why Hollywood thrillers work rather than ripping them off under the pretext of making a ‘different’ cinema in Telugu!

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Richa Gangopadhay (Leader Fame) New Pics

2010-03-06T03:00:00.000-08:00

MaaTv Swati New Photos

2010-03-06T02:56:00.000-08:00

Leader Fame "Priya Anand" Gallery

2010-03-06T02:52:00.000-08:00

'Alice in Wonderland' Movie Review

2010-03-06T02:27:00.000-08:00

ABOUT RATING :: 4/5

Starring : Mia Wasikowska, Matt Lucas, Johnny Depp, Michael Sheen, Christopher Lee

Directed by :: Tim Burton

Produced by :: Joe Roth, Richard D. Zanuck, Jennifer Todd

Genres :: Science Fiction/Fantasy and Adaptation

Running Time :: 1 hr. 49 min.

Release Date :: March 5th, 2010 (wide)

MPAA Rating :: PG for fantasy action/violence involving scary images and situations, and for a smoking caterpillar.

Distributors :: Walt Disney Pictures, Walt Disney Studios Distribution

Tim Burton leads audiences on a magical, mystical, [head]trip down the rabbit hole with Alice in Wonderland, the PG rated Disney film starring his favorite collaborators, Johnny Depp and Helena Bonham Carter. Burton, Depp, and Bonham Carter are like three peas in a twisted pod. The chances they take are risky and largely worthwhile, and Alice is a risk taken that worked. It's extraordinarily beautiful, extraordinarily bizarre, and - although purists will pooh-pooh the new storyline - absolutely entertaining.

Alice in Wonderland is the most technologically complex of their adventures together, but Burton and his cast make sure the effects don't overwhelm the quirky characters or central story. Alice in Wonderland isn't just a special effects extravaganza, though the effects are absolutely stunning. ...Bravo special effects wizard, Ken Ralston... From talking roses to wild, woolly, and wacky completely CG characters, Alice in Wonderland is an absorbing 3D adventure that transports you to a new world so completely it's hard to say goodbye to it when it all wraps up. And at just one hour and 49 minutes, it wraps up all too quickly.

The Story

Based on the characters created 150 years ago by Lewis Carroll, Burton and screenwriter Linda Woolverton move the story forward to a 19 year old Alice (Mia Wasikowska) on the verge of womanhood. Her mother, who we never get to know, has arranged for her marriage to a milquetoast wimp of a man. The son of a lord who used to do business with Alice's father, this dull young man has no imagination and so when Alice begins speculating on all sorts of interesting, fanciful topics, he's not only unimpressed but also taken aback. Still, his family's determined the marriage go forward and lacking any free will - or a personality - he asks for her hand in front of a gathering of hundreds of their family members and friends.

Instead of answering, Alice spies a white rabbit (voiced by Michael Sheen) dressed rather nattily and decides to leave the spineless son of a lord behind and follow the rabbit down a hole at the base of a large tree. Once there, Alice eats cake and drinks a potion, ultimately winding up the size of the rabbit.

Alice thinks she's somehow fallen asleep and this is all a dream, and so she's willing to just abandon herself to whatever's happening. That means that when rabbits, mice and even the roses start asking her if she's 'the' Alice, she doesn't freak out that animals and plants are questioning her, but instead takes offense to the fact she's being accused of being the wrong Alice. She doesn't remember these creatures nor ever having visited Underland before, yet they seem to believe she's the Alice who's meant to save Underland and slay the Jabberwocky. But the hookah-smoking blue caterpillar tells her she's not nearly Alice and sends her off to The Mad Hatter.

Meanwhile, The Red Queen (Helena Bonham Carter) has made Underland a terrifying place to live. Her twice the normal size head must house a less than normal size brain, as she's a little slow on the uptake and very quick to anger. The flip side of the coin is The White Queen (Anne Hathaway), a ethereal creature who is loved by all. The White Queen floats like a butterfly, and may have the ability to sting like a bee - but it's well hidden beneath virginal attire and a Mona Lisa smile.

The Red Queen ripped the throne out from under The White Queen, and everyone in the kingdom has been waiting for Alice's return for the prophesy to be fulfilled, the Jabberwocky to be defeated, and the wonderland that is Underland to be restored to its former peaceful beauty.

The Cast

Under a layer of some of the most creepy makeup ever - makeup that makes it hard to actually focus on him for too long - Johnny Depp is enthralling as a hatter who's completely lost his mind. Depp's high energy, completely bonkers performance is worth the price of an Alice ticket. Helena Bonham Carter is all pouty and positively perfect as the big-headed petulant queen whose favorite refrain is "Off with his/her head!" As The Red Queen's right-hand man, the Knave of Hearts, Crispin Glover is peculiar and menacing at the same time. And Anne Hathaway looks angelic, but her White Queen has a dark side that's hidden barely beneath the surface. I'm not sure why she does this weird thing with her fingers every time she's on screen - it's both fascinating and distracting - but Hathaway is just right as the yin to Bonham Carter's yang.

Burton also brought together an impressive voice cast which includes Sheen as the White Rabbit, Alan Rickman as the Caterpillar, Sir Christopher Lee as the Jabberwocky, Stephen Fry as the Cheshire Cat, Timothy Spall as Bayard the bloodhound, Paul Whitehouse as the March Hare, and Barbara Windsor as the feisty Dormouse. All the voice actors do a first-rate job, in particular Fry as the scene-stealing, disappearing cat with the famous grin.

But the real revelation is Mia Wasikowska as Alice. Although it looks as though a strong breeze could knock her down, Wasikowska is a real powerhouse. As Alice, Wasikowska goes from a young girl unable to stand up for herself against her mother's wishes, a girl whose father told her it's important to think of six impossible things before breakfast, to an Alice totally in control. Alice in Wonderland wouldn't work if we didn't feel everything Alice is going through, and Wasikowska - with Burton's guidance - allows us to get inside Alice's skin.

The Bottom Line

As with Avatar, there's so much going on in the background of Alice, with so many little details flying by too quickly, trying to take it all in in one sitting is almost an impossible task. This is one DVD I'll be wearing out the pause button over, just to get a better look at the lustrous undergrowth of Underland.

It's not just the Red Queen's costumes and choice of decor that show off how much heart was poured into this Alice. But, this is a very different Alice than we're used to seeing portrayed on the screen, and one you're either going to absolutely loathe or fully embrace. But if you're willing to accept this new story involving old familiar characters, Alice in Wonderland will take you on a fantastic adventure down the rabbit hole and into a spectacular, mind-blowing new world.

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ATITHI TUM KAB JAOGE? is Hilarious

2010-03-06T00:25:00.000-08:00

Release Date : March 5, 2010

Taran Adarsh rating :: 3.5/5

Cast :: Ajay Devgan,Konkona Sen Sharma,Paresh Rawal

Music :: Pritam Chakraborty

Producer :: Amita Pathak

Director :: Ashwani Dhir

Banner :: Wide Frames Films,Warner Bros

One of my childhood memories is that of several relatives visiting us in Mumbai [presumably for a few days], but overstaying their welcome. Those days, the atithis were never looked upon as 'intruders'.

Times have changed! If you live in a metropolis, if your spouse and you work round-the-clock and have commitments to honour, any extra person - other than those living with us or is part of our day-to-day schedule - is strictly unwelcome. His/her arrival may cause hindrance and rob you of your privacy.

ATITHI TUM KAB JAOGE? mirrors a reality, but the story has scope for not just humour and emotions, the staple diet of most Hindi movies, but there's a generous dose of devotional quotient that is well integrated in the storyline.

Do you miss movies of yore, helmed by masters like Hrishikesh Mukherjee and Basu Chatterjee? ATITHI TUM KAB JAOGE? may not be a CHUPKE CHUPKE, GOLMAAL, CHITCHOR or KHATTA MEETHA, but it has a certain old-world charm that one misses in cinema of today.

Final word? Bring this atithi home!

It tells the story of Puneet [Ajay Devgn] and Munmun [Konkona], a married couple living in Mumbai. Their lives take an interesting turn when a distant relative, Chachaji [Paresh Rawal], turns up unannounced at their doorstep from a far-off village. The guest overstays his welcome, so much so that the exasperated couple come up with various ploys to hasten his departure.

ATITHI TUM KAB JAOGE? is a light-hearted entertainer that tickles your funny bone at several points. The best part is, you not only laugh at the funny one-liners, but also at situations, which are so life-like and which makes you connect with them instantly.

ATITHI TUM KAB JAOGE? rests on three characters primarily - Ajay, Konkona and Paresh - and director Ashwni Dhir and his team of writers [Robin Bhatt, Tushar Hiranandani] have ensured that there are ample [enjoyable] scenes that you carry home. What really takes you by surprise is the devotional factor that has been smartly injected in the screenplay. The traditional Indian audiences would love the Mata ki aarti, the Ganesh Chaturthi festival and the sanskaar that the atithi instils in Ajay and Konkona's child.

But the writing wanders into unwanted areas, which could've been avoided in the first place. The raid at the hotel, where Ajay, Konkona and their son move into, seems unnecessary. Ditto for the subsequent scene at the cop station. Immediately thereafter, Ajay hires the services of a Bhai to get rid of Paresh, which looks far-fetched. These three incidents, which come back to back, only add to the length of the film. Also, Paresh breaking wind [gas/flatulence] looks funny in a scene or two, but why make it a recurring occurrence? An overdose is embarrassing!

However, the climax, which starts with the sthapna of Lord Ganesh's idol in Ajay's home, till the culmination of the story, makes the goings-on immensely watchable. Director Ashwni Dhir, best known for penning comic shows, proves that he's at ease handling dramatic [interval point] and emotional [climax] scenes with gusto. Pritam's music is ordinary, but the songs fit well in the narrative, especially the two devotional tracks. The title track [Amit Mishra] is quite catchy. Aseem Bajaj's camerawork is first-rate. Dialogues [Ashwni Dhir] are excellent.

Come to think of it, it requires a lot of courage to play a role that's devoid of star mannerisms and Ajay enacts this part most convincingly. Konkona is spontaneous and a complete natural. Paresh is superb as the atithi. He's definitely the scene-stealer! Satish Kaushik shines, especially in the sequence when he apologises to Ajay. Akhilendra Mishra, Mukesh Tiwari and Viju Khote are alright. Sanjay Mishra is first-rate.

On the whole, ATITHI TUM KAB JAOGE? is a hilarious movie, but unlike any slapstick comedy. It's a light-hearted film with sensibility, humour and a strong undercurrent of emotion. This atithi is sure to find a place in your heart!

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ROAD, MOVIE - Review By Taran Adarsh

2010-03-06T00:17:00.000-08:00

Release Date : March 5, 2010

Taran Adarsh rating :: 1.5/5

Cast :: Abhay Deol,Satish Kaushik,Tannishtha Chatterjee.

Music :: Michael Brook

Producer :: Ross Katz,Susan B. Landau

Director :: Dev Benegal

Just a thought before I review this film... When you saunter in for the screening of a movie directed by a celebrated film-maker, a movie which has had a good run at film festivals, a movie which tilts towards art house cinema, it is expected that the critic shower the film with lavish praises and speak of it in glowing terms.

If you don't, get ready to be ostracized by pseudos masquerading as messiahs of parallel cinema, get ready to be labelled a nincompoop by netizens, get ready to face the constant bitching and loose talk by the 'Balcony Class' presswalas. Believe me, a few people are in awe of such cinema and feel they need to prove how cerebral they are by praising such films.

Now to the review! Either the film works or it doesn't. It's all about the story and how convincingly the storyteller narrates it. If the story is absorbing, you can't take your eyes off screen. If it isn't, you break into a yawn, you fidget with your cell phone, you start looking at all places, except the screen.

What you're attempting to say, is important. But how many people actually follow what you're saying, is even more important. ROAD, MOVIE narrates the journey of a young man and the people he encounters on his way. But the problem is, what is ROAD, MOVIE trying to say? You're clueless!

Is it about the water mafia? Is it about a touring cinema? Is it a love story between an educated youth and a gypsy? Is it a road movie? The sole factor that stands out in this film is its breath-taking locations/visuals. They are more striking than the story. And that's the sad truth!

Also, why is it that India is often projected as a land of snake charmers, as a poverty-stricken, hunger-stricken, drought-stricken country with beggars and slums all around? Is that what India is, in their eyes? Is this what we are trying to sell to the West and the world in general? That's really sad!

Final word? ROAD, MOVIE caters to a very, very, very, very tiny section of movie-going audience, who have an appetite for 'festival films'.

Vishnu [Abhay Deol], a restless young man, itches to escape his father's faltering hair oil business. An old truck beckons, which Vishnu sees as his ticket to freedom. As he sets off across the harsh terrain of desert India, he discovers he's not merely transporting a battered vehicle, but an old touring cinema.

Along the way, Vishnu reluctantly picks up a young runaway [Mohammed Faizal Usmani], a wandering old entertainer [Satish Kaushik] and a gypsy woman [Tannishtha Chatterjee]. Together they roam in the barren land, searching for water and an elusive fair. The journey turns dire when they are waylaid by corrupt cops and a notorious water lord.

ROAD, MOVIE starts off very well, but loses focus midway. Abhay's interaction with the kid and also Satish Kaushik is thoroughly enjoyable. But as the story unfolds, the movie loses its grip and starts going in circles. The plot works till Abhay and Satish screen the movie for the cop, but the portions thereafter aren't engaging, except for a sequence or two in between.

The portions depicting the fair leaves you confused. Was it for real or a dream sequence? Also, the sequence with the water mafia [Yashpal Sharma] is absurd. This sequence - when Abhay trades off water for hair oil - doesn't gel well with the mood of the film. Even the romantic track between Abhay and Tannishtha looks far from convincing. The finale too lacks clarity and the remix version of 'Tel Maalish' is hardly there.

Director Dev Benegal seems to have concentrated more on visuals than narrating a gripping story. Frankly, the story is so fragile that it's difficult to hold your attention in those 90 odd minutes. The screenplay is bland and what makes it worse is the fact that the plot unravels at a lethargic pace. Dialogues are well worded at places.

Abhay Deol is a complete natural and this film proves it yet again. Satish Kaushik is first-rate. Mohammed Faizal Usmani impresses. Tannishtha Chatterjee does well. Yashpal Sharma is wasted. Virendra Saxena is efficient.

On the whole, ROAD, MOVIE is more for the festival circuit and some connoisseurs of art house cinema, who may savour it. That's about it!

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Nisha Kothari Hot Photos

2010-03-02T05:00:00.000-08:00

Sheena Bindaas Photos

2010-02-27T03:15:00.000-08:00

Samantha 'Ye Maaya Chesave' Fame New Pics

2010-02-27T03:08:00.000-08:00

Richa Gangopadhyay : Leader Heorine Photos

2010-02-27T02:57:00.000-08:00

Tamannah Photo Gallery

2010-02-27T02:53:00.000-08:00

Shriya Saran Latest Photos

2010-02-27T02:46:00.000-08:00

KARTHIK CALLING KARTHIK : An UnConvincing Conclusion

2010-02-26T07:35:00.000-08:00

Release Date : February 26, 2010

Taran Adarsh rating :: 2.5/5

Cast :: Farhan Akhtar,Deepika Padukone

Music :: Shankar,Ehsaan,Loy

Producer :: Farhan Akhtar,Ritesh Sidhwani

Director :: Vijay Lalwani

Have you ever received a call from yourself? Is it possible in the first place? There are several theories doing the rounds about the two Karthiks in this movie. So what is it? Is Karthik hallucinating? Does he have a double role? Or a split personality? For most parts of the film, you actually buy the explanation that Karthik does receive calls from, well, Karthik.

Let's accept the fact that a concept like this instinctively generates curiosity in the film. But the real test is to make the story work in those 2 hours. Also - this is vital - the identity of the caller should come as a jolt when the film concludes.

KARTHIK CALLING KARTHIK works in parts, but during the penultimate part, when the story shifts from Mumbai to Kerala, the sand castle, so beautifully built by debutante director Vijay Lalwani, gets washed away.

One doesn't want to challenge the behavioural patterns of a person with a certain disorder, but when it comes to the big screen, when you are narrating a story on celluloid, you need to do a lot of spoon-feeding and make it look convincing. In this case, unfortunately, the finale is just not convincing and therefore, acts as a spoilsport.

Meet Karthik [Farhan Akhtar], an introvert by nature and shy by choice. Karthik suffers with huge confidence issues and is miserable at his average job that yields less than average results. His boss [Ram Kapoor] treats him like dirt. Shonali [Deepika Padukone], his colleague, who he secretly loves, doesn't even know that he exists. Karthik is a loser. He knows it. He accepts it.

Suddenly, one night, the phone rings. And Karthik speaks to someone he never thought he would. He speaks to a man who also claims to be Karthik. The man on the phone says he's here to change Karthik's life. Karthik accepts the phone in his life and soon it becomes his guide, his mentor, his friend, his guardian.

KARTHIK CALLING KARTHIK is a love story as also a suspense fare that teases your mind. Any love story works if the chemistry and also the moments between the on-screen lovers looks real and the chemistry between Farhan and Deepika works well.

Correspondingly, a suspense film works if the viewer keeps guessing what the culmination to the story would be. The mystery only deepens when not only Karthik, but also his girlfriend and psychiatrist are engulfed in this storm. All hell breaks loose when Karthik's life goes upside down and Karthik is back to square one. But from this point onwards, the graph of the film only goes downwards.

Debutante director Vijay Lalwani knows his job well, but he's letdown by his own writing. The second hour not only looks stretched [two songs flow one after the other, with the story coming to a grinding halt], but the pace also gets excruciatingly slow at this juncture. The climax, as mentioned earlier, is a complete downer.

Shankar-Ehsaan-Loy's musical score is an asset. The film has some lilting tunes. Cinematography [Sanu John Varughese] is perfect. Dialogues are simple mostly and at times, very witty.

This is Farhan Akhtar's third film as an actor and it must be said that he takes giant strides when it comes to acting. The story throws several challenges at him and fortunately, he emerges trumps in the most difficult moments. This is, by far, his best work.

Deepika Padukone looks bewitching and acts natural throughout. Ram Kapoor is fantastic. Why don't we see him so frequently on the big screen? Shifaali Shah is excellent. Vivan Bhatena is good. Tarana, Vipin Sharma and Yatin Karyekar are serviceable.

On the whole, KARTHIK CALLING KARTHIK is a decent product with an unconvincing conclusion. Watch it for the wonderful performances of Farhan and Deepika, if you have to. Caters to the youth in metros mainly.

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'TEEN PATTI' is a fresh concept

2010-02-26T07:27:00.000-08:00

Release Date : February 26, 2010

Taran Adarsh rating :: 2.5/5

Cast :: Amitabh Bachchan,Sir Ben Kingsley,R Madhavan,Raima Sen

Music :: Salim Sulaiman

Producer :: Ambika A Hinduja

Director :: Leena Yadav

The earth provides enough to satisfy every man's need, but not every man's greed. That's so true! Let's face it, money is the root of all evil. When we have more, it is never enough. This is exactly what Leena Yadav's TEEN PATTI tells you.

TEEN PATTI is not only about gambling on table, but all those gambles that we take in our life. Bearing an uncanny resemblance to the Hollywood film 21, TEEN PATTI is akin to a roller coaster ride; if there are highs, expect the lows too.

Leena Yadav's take on greed and deception has some defining moments, but the fact is that the writing lacks clarity. Let me explain. Probability is a very interesting theory in mathematics. But the problem is, is it easy to comprehend for the average viewer? Frankly, despite Leena's best efforts, only a handful of viewers will be able to comprehend the goings on and the theory of probability.

Besides, the narrative is such that it caters to the intelligentsia mainly. For the average moviegoer, thirsting for entertainment, it has little to offer.

The reclusive genius Venkat [Amitabh Bachchan] has cracked a theory that could redefine the principles of probability and randomness. Venkat is encouraged to test his theory in the real world by professor Shantanu [Madhavan], an ambitious colleague of Venkat.

Although Venkat has no interest in the money that could come from practicing his equation to crack 'Teen Patti', which could rake in all the moolah, he eventually succumbs to Shantanu's charismatic persuasion. Soon, with the help of a few students, they explore the underground gambling dens of Mumbai.

But what starts out as an experiment between a charismatic young professor and an eccentric older one soon descends into a game neither of them can control.

It takes time to get the hang of things in TEEN PATTI. But once the two professors and the students begin their sojourn to the dark alleys, the film comes into its own from thereon.

The story moves back and forth, with Bachchan narrating his side of the story in flashbacks to Sir Ben, which is well integrated in the narrative. The intermission point - when the mystery about the unknown caller deepens - only heightens the expectations from the post-interval portions.

But there're hiccups! The pace gets excruciatingly slow in this hour and also, it tends to get repetitive. Among the cameos - Jackie Shroff, Ajay Devgn, Tinnu Anand and Shakti Kapoor - only the ones featuring Tinnu and Shakti stand out, while Ajay's scene seems forced.

The writing is erratic [Shiv Subramanyam, Leena Yadav], with some portions touching the peak, while a few touching the ebb. The suicide of one of the students and how it puts an end to the game is a master stroke from the writing point of view. Bachchan's speech in the finale, when he's bestowed with the Sir Isaac Newton Award, moves you no end. But between the suicide and the finale, the film tends to get uninteresting.

Leena's direction shows maturity in her second outing. A number of sequences are deftly executed. But how one wished Leena would learn the art of narrating stories within commercial parameters. Aseem Bajaj's cinematography is striking. The visuals are simply incredible. Salim-Sulaiman's music has two catchy tracks - 'Neeyat' [the moves of the dancer are tantalising] and the track towards the end credits. The usage of B&W in this song is truly imaginative. The choreography of both these songs [Ashley Lobo] is superb.

Bachchan plays the role of a mathematician with remarkable ease. One cannot imagine anyone else in this character other than Bachchan. Especially noteworthy are the sequences between Bachchan and Sir Ben. Madhavan is excellent. The actor displays the grey shades most convincingly. The film introduces four new talents and each is confidence personified. Siddharth, Shraddha and Dhruv get maximum footage and they stand out. Vaibhav has tremendous screen presence, but his role lacks meat.

Raima Sen is alright. Barry John is first-rate. Anjan Srivastava is good. Mahesh Manjrekar is effective. Saira Mohan is hardly there. Sir Ben Kingsley is an amazing actor and expectedly, he's brilliant here. It's a treat to watch these two magicians - Sir Ben and Bachchan - perform on screen.

On the whole, TEEN PATTI is a fresh concept for Indian viewers, made well, but limits itself to the intelligentsia and big city audiences mainly.

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Ye Maya Chesave : A Beautiful ‘Love-Story’!

2010-02-26T07:12:00.000-08:00

Release date: 26th Feb 2010

123Telugu Rating: 3.5/5

Director : Gautham Vasudev Menon

Music Director : A.R.Rahman

Producer : Sanjay Swarup

Starring : Naga Chaitanya, Samantha, Krishnudu, Devan, Surekha Vani, Lakshmi and Others...

Gautham Menon’s new film ‘Ye Maya Chesave’ starring Naga Chaitanya is not only a love story par excellence but also puts every other film with a love story to shame! Truth be told, most of the love stories made these days are so cheesy and predictable that it’s hard to find the true essence of love in such films. This is exactly what Gautham Menon tries to narrate in his film. His latest film ‘Ye Maya Chesave’ tries to find out what love is and how does love evolve from a spark in the heart to life itself. The film is Naga Chaitanya’s second, after he made his debut in ‘Josh’ which was released in 2009. Samantha made her debut in Telugu in this film. ‘Ye Maya Chesave’ narrates a love story between a couple who come from different backgrounds and how they try to find solace in each other’s company.

What is it about : Naga Chaitantya stars as Karthik, a 22 year old Mechanical Engineering graduate who wants to be a film maker. With the help of his friend, Krishnudu, who is an actor, he gets introduced to a prominent director (Puri Jagannadh) and begins his career as an assistant director under him. One day, his heart skips a beat when he sees a girl on the road and within no time he realizes that both of them live in the same building. He comes to know that she’s a Malayalee Christian named Jessie (Samantha) and that she’s 24 years old. He blindly falls in love with her and one fine day proposes to her. Does Jessie accept Karthik’s love? How do the differences in their culture, religion and age affect their lives? This forms the basis of this poignantly written and beautifully narrated love story.

What is Good: The biggest strength of the film is Gautham Menon’s script and the way he has written the characterization of the lead actors. On one hand, we have Karthik who’s blindly and passionately in love with Jessi and on the other hand, is Jessi, who is both impulsive and compulsive at the same time. This characterization not only makes her strong but also she appears to be confused most of the times. And from this confusion arises unpredictability which almost always engulfs Karthik’s life. Gautham Menon's casting for the film is impeccable. There’s a strong Malayalam flavour in the film which is there for a good reason and he makes sure each and every aspect of the film is authentic. Of the star cast, Naga Chaitanya delivers an incredible performance in his role as Karthik. He’s not too flamboyant and most of the time he underplays his role but he knows that he’s passionately in love with Jessi. It’s difficult to find any similarity between Chaitanya’s performance in ‘Josh’ and ‘Ye Maya Chesave’ and what’s even harder to believe is that there has hardly been five months of gap between the two. A big thumbs up to Naga Chaitanya, he has certainly become more versatile, be it his expressions or adding a lot of soul when he acts. The best kept secret of the film, however, is Samantha. She’s extremely lucky to have bagged this role, because such roles come once in a lifetime. She totally justifies her role and her characterization in the film makes a great first impression. What is even more remarkable in her characterization is her portrayal of mood swings. She’s too confused; she loves Kathik yet doesn’t want to be with him and Samantha gets into the skin of this role with great ease. The chemistry between Chaitanya and Samantha is sizzling and the duo makes a great onscreen couple. Krishnudu makes his presence felt; his innocence and comic timing bring the house down.

What is bad: Love stories are such that they don’t strike a chord with everyone. Probably, it’s the same case with this film as well. For some it would be like a chapter of their own lives and for others a figment of imagination which wouldn’t concern them in anyway. The film itself slightly drags in the second half which sort of takes away the overwhelming charm which the film achieves during the budding romance. Some part of the film is set in Kerala and to retain the authenticity, people speak in Malayalam and we have Telugu subtitles which are at times difficult to follow. On the whole, if you are someone, who likes big bang entertainment, item songs, cheesy romance, two giga sized families, flashbacks set in palatial houses, grand sets, rip roaring comedy, sumos and chases – basically every cliché which makes our films so entertaining, then ‘Ye Maya Chesave’ might disappoint you.

Technical Departments: ‘Ye Maya Chesave’ is also a visual delight thanks to more than impressive work in almost all technical departments. A.R.Rahman’s music is haunting; each and every single tune in the film compliments the story. It’s easily one of his best works in recent few years. Manoj Paramahamsa’s cinematography is beautiful; it’s almost sheer poetry at times. Manoj also effectively captures the moods and the intensity of the lead actors in the close up shots. Editing by Anthony is good and it could have been slightly better in the second half. Dialogues by Anuradha are fantastic and there are just too many clever lines in the film. Gautham Menon’s story and direction in this film needs to be a bible of sorts for every aspiring film maker. Imagine narrating a 160 minutes film with just 2 characters and it’s such a humongous task in itself. He has easily created one of the best love stories we have seen in years and he’s the main reason if we end up falling in love with Karthik and Jessie.

Bottomline: The best thing about the film is, it knows that it’s narrating the love story of two mature adults. All that matters is how they communicate, their conversations, their quarrels, their mood swings. And such things could happen anywhere, anytime. This brings us to the most important question, “Can love be defined in words?” I don’t think that’s possible. Let this be one of those rare films, where your experience while watching the film is more important than what others have to say. It deserves at least that amount of respect. If this is the kind of love stories we get to see in near future, then forget about dumb entertainers, love stories would be back in vogue! Words apart, go watch the film, fall in love all over again! Two big thumbs up to the film. Who knew that love stories could be so real and intelligent in contemporary cinema!

P.S: This is a rare film which makes single men and women jealous and at least coax them to search for their respective ‘Karthik’s and ‘Jessies’!

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Kalavar King : Kingsize Bore!!!

2010-02-26T07:07:00.000-08:00

Release date: 26th Feb 2010

123Telugu Rating: 2/5

Director : Suresh

Music Director : Anil

Producer : D.S. Rao

Starring : Nikhil Siddharth, Swetha Basu Prasad and Others...

Kalavari King is a damp squib that tries very hard to be a funny but fails miserably thanks to a poor script and sketchy characterization. The director can’t make up his mind whether he wants to make comedy or a love story with the final result being a tragedy for the audience!!!

What is it about : Rajesh (Nikhil) is a not-so-innocent village boy who wants to make it big in life easily and in the process ends up taking loans from every other person in the village. In a parallel track, we have Shruthi (Shweta Prasad) who is being harassed by the local goon Narender (Ajay) who also happens to be her brother-in-law. Very soon, Rajesh & Shruthi meet and a couple of misunderstandings lead to Rajesh turning over a new leaf. He then transforms into a successful loan recovery agent and for some unexplained reason decides to rescue Shruthi from the clutches of her brother-in-law. In the last 15 mins of the movie, they suddenly realize their love for each other before an insipid climax leads to a happy ending for them and the audience!

What is Good: Not much to cover in this section except for a few comical scenes between Nikhil and his creditors. Apart from this, Ali’s spoof on the “Baba” act from Arundathi was good while Venu Madhav with his “Veera Simha” character evoked some laughs as well.

What is bad: The script is the biggest culprit here since it appears that the writer wanted to throw in a lot of comic scenes and then weave a story out of it. So we have an entire first half which is mainly on Nikhil’s antics which bore you after a point and then the second half tries too hard to show a non-existent love story. Nikhil’s character is supposed to be a mimic that had a lot of comic potential but unfortunately that part is wasted. Apart from Nikhil, the rest of the cast put in a mediocre performance while the production values are just about average. Shwetha Prasad needs to work on gaining more expressions while losing those extra kilos that give her a different type of screen presence!!!

Me Thinks: This movie can be safely avoided …watch it at your own risk!

Tailpiece: Nikhil tries very hard to ape Ravi Teja’s style that is characterized by loud comedy, smart one-liners & some action scenes but it doesn’t work here !!!

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Inkosaari : A picnic goes wrong!

2010-02-26T06:56:00.000-08:00

Release date: 26th Feb 2010

123Telugu Rating: 2.5/5

Director : Suman Pathuri

Music Director : Mahesh Shankar

Producer : Kalyan Palla

Starring : Raja, Manjari, Richa and Others...

‘Inkosaari’ is a film which promised to be fully loaded with fun and friendship and it delivers its promise to some extent but with a twist. The film has Raja, Manjari, Richa, Ravi Verma, Sandip and Kishore in lead roles. Directed by Suman Pathuri, the film has been written by Raj, DK who had earlier made films such as ‘Flavours’ and ‘99’. Kalyan Palla has produced the film on ‘Bay Movies’ banner. The film narrates the story of six friends who meet after a gap of seven years after graduating from college.

What is it about : Ajay (Raja), Shruti (Manjari), Bala (Kishore), Deepa (Richa), Sudhakar (Ravi Verma) and Vicky (Sandip) are like any other gang in college. When they are at the brink of graduating from college, Vicky proposes an idea and they all decide to meet atleast once every year for the rest of their lives. However, with time all of them get entangled in their own world until Ajay lands in India from US one fine day. He convinces all his friends for a reunion / 7 Day vacation to relive their college days. What happened in these seven days? Along with time, did they change too? What happens when some unresolved issues once again surface? That forms the rest of the story.

What is Good: ‘Inkosaari’, to begin with, is a film with so much sugar that you might contract diabetes. It’s hard to find films these days where every single character is good at heart and will do anything to make others feel good. ‘Inkosaari’ manages to achieve this feat. The film has a simple story which is laced with some crackling humour. Of the cast, ‘Vennala’ Kishore walks away with the top honours with his wonderful comic timing. His role as Bala Bokkala is hilarious to a great extent. Manjari and Richa both look ravishing onscreen and they deliver credible performances. Bharat’s role as a Yoga freak is brilliantly written and he doesn’t disappoint. Raja, Ravi Verma and Sandip are alright.

What is bad: The story and the screenplay of the film are such that it’s hard to either empathize or sympathize with the characters. It’s also one of the most predictable films made in the recent times. So predictable is the film that leave alone a scene, you can actually predict some of the dialogues. Moreover, the characterization of almost everyone is just too shallow and this lack of depth makes each one of them even more predictable. After a promising start, the film slips into a serious mode in the second half. It would have been a lot nicer if the conflict resolution had more conviction. Everything is resolved in a matter of two minutes or two dialogues. If only real life was this simple!

Technical Departments: The story written by Raj, DK is alright although it’s too predictable. Most of the film has been shot in Vizag near the seashore and cinematographer, Ranganath Babu does a good job. Mahesh Shankar’s music is decent and the classical touch he rendered for few scenes featuring Richa and Rao Ramesh is awesome. Nagaraju Gandham’s dialogues are alright and he hits a crescendo when it comes to comic lines. Krishna Reddy’s editing is good. Suman Pathuri, who made his debut as a director, does a decent job in narrating a simple story without any excessive drama. He pulls it off pretty well when the story has comic overtones; however, it’s a different story altogether when it comes to sentiment.

Bottomline: ‘Inkosaari’ is not a bad film at all. It’s one of those ‘feel-good’ films which try to be mushy at times. It’s a decent debut for Suman Pathuri as a director. Don’t forget, he’s 23 years old and that’s a rarity! The film works when it doesn’t take itself seriously. However, the humour itself gets repetitive and sometimes irritating because it tries so hard to make you laugh. The film goes terribly haywire when it gets into a serious mode and some of those issues are resolved in a flimsy manner. In the end, a strong overdose of cheesy and at times pointless holidaying spoils the fun that we were promised. Maybe too much of goodness with cheesiness is injurious to health, sometimes.

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Kajal Agarwal In Red Dress

2010-02-23T04:25:00.000-08:00

Kajal Agarwal Excercise Photos

2010-02-23T04:18:00.000-08:00

Kajal Agarwal In White Shirt Photos

2010-02-23T04:13:00.000-08:00

Kajal Agarwal Cute & Lovely Photos

2010-02-23T04:03:00.000-08:00

Pawan Kalyan First Wife Wedding Photo

2010-02-23T02:40:00.000-08:00

Ram Charan and Rana Childhood Photo

2010-02-23T02:39:00.000-08:00

First Miss India Pramila (Esther Abraham)

2010-02-23T02:36:00.000-08:00

First Miss India( held in the year 1949) Pramila (Esther Abraham)

She is now 90 Years old

The Best Picture i Saw

2010-02-23T02:29:00.000-08:00

Sarees Of Different Styles

2010-02-23T02:21:00.000-08:00

Ooh My GOD It's A Magic ! ! !

2010-02-23T02:14:00.000-08:00

Shazahn Padamsee Latest Pics

2010-02-23T02:05:00.000-08:00

Riya Sen Pics

2010-02-23T01:55:00.000-08:00

Nuclear Explosions Real Rare Pics

2010-02-23T01:46:00.000-08:00

Unseen Pics Of Trisha With RamCharan Tej

2010-02-23T01:34:00.000-08:00

Trisha Party With Friends Photos

2010-02-23T01:30:00.000-08:00

Geneliya With Her MOm & Friends

2010-02-23T01:19:00.000-08:00

Geneliya Dance Practice in Black Dress

2010-02-23T01:13:00.000-08:00

Aerial Pictures Of 911 Attacks On WTC

2010-02-22T03:10:00.000-08:00

Bollywood Celebs With Their Kids

2010-02-22T02:50:00.000-08:00

Mahatma Gandhi Funeral Rare Photos

2010-02-22T02:22:00.000-08:00

Mahatma Gandhi Rare Original Photos

2010-02-22T02:20:00.000-08:00

'Shutter Island' Movie Review

2010-02-19T23:57:00.000-08:00

ABOUT RATING :: 4/5

Starring:Leonardo DiCaprio, Mark Ruffalo, Ben Kingsley, Michelle Williams, Max von Sydow

Directed by :: Martin Scorsese

Produced by :: Dennis Lehane, Laeta Kalogridis, Louis Phillips (II)

Genres : Action/Adventure, Thriller and Adaptation

Running Time : 2 hrs. 18 min.

Release Date : February 19th, 2010 (wide)

MPAA Rating : R for disturbing violent content, language and some nudity.

Distributors : Paramount Pictures, Sony Pictures Releasing International (SPRI)

Martin Scorsese's latest film, Shutter Island, is absolutely fascinating, at times frustrating, too long by half an hour, has pacing issues - and is worth seeing twice. In fact, it's almost necessary to see it twice. A psychological drama reminiscent of Hitch cock's work, Shutter Island (despite its flaws) not only solidifies the fact Scorsese's a master filmmaker, but showcases the best performance of Leonardo DiCaprio's career.

Buzz had been building for this Scorsese film all last year when it was initially set for an October release. Paramount booted it out of 2009 to 2010, which led to lots of speculation even after the studio offered up an explanation, with Paramount Pictures Chairman Brad Grey saying it was strictly a financial decision. Shutter Island had been on a lot of 2009 Oscar hopeful lists (mine included), and moving it to early 2010 seemed to signal the film wasn't going to live up to expectations. There was even speculation the studio had lost all confidence in the film's success, thus its February berth.

Thankfully, the final product is not the disappointment some were positive it would be. It's not Scorsese's best film, but even when he's not hitting on all cylinders his work is better than most directors working today.

The Story

To say too much about the story would be giving the twists of the plot away, and I don't want to spoil the experience for anyone. So, the least possible spoiler-ish explanation of the film is that it's 1954 and U.S. Marshals have been called out to investigate the disappearance of a woman who murdered her children and has been locked up at the Ashecliffe Hospital for the Criminally Insane since being found guilty of the horrible act. The hospital is located on Shutter Island, a remote location available only by ferry.

As a hurricane bears down on the island, U.S Marshal Teddy Daniels (DiCaprio) and U.S. Marshal Chuck Aule (Mark Ruffalo) must try and figure out how the murderess escaped from a locked room without anyone noticing and where she could possibly have wandered off to on the small island in the middle of nowhere. Again, that's the basics, but in no way is it the real meat of the story. To say more would risk ruining the suspense of watching Shutter Island play out.

The Cast

DiCaprio's never been better than he is in Shutter Island. This fourth collaboration with Scorsese requires DiCaprio to go deeper and be more vulnerable than we've seen him on film, and the 35 year old actor who's grown up in front of the camera does something here he's never done before. I can't explain just how he disappears into Teddy Daniels, but more so than any of his previous performances, he's tapped into the very essence of this conflicted and tormented character.

Mark Ruffalo plays another one of those supportive, second banana-type characters he's done so well before, and delivers another solid, understated performance. Sir Ben Kingsley's gone through a real rough patch lately, picking projects that don't offer much in the way of character development. This is not one of those projects. As Dr. Cawley, the man in charge of overseeing treatment of the criminally insane, Kingsley never overdoes it, never overplays the authoritarian aspect of this powerful doctor who tries to be humane during a time when the treatment of the unbalanced was anything but.

Some of the finest moments in Shutter Island occur when DiCaprio and Michelle Williams share screen time. Williams is heartbreaking and brilliant as DiCaprio's deceased wife, and even though the film runs long, I wouldn't have minded adding additional minutes to the running time if they were minutes that included DiCaprio and Williams building on the relationship we glimpse in a series of flashbacks.

Scorsese's surrounded his leads with a fine supporting cast that includes Emily Mortimer, Ted Levine, and Max Von Sydow, as well as memorable cameos by Patricia Clarkson and Jackie Earle Haley. There's not a weak link in the bunch.

The Bottom Line

Shutter Island's simply gorgeous, and the acting, production design, cinematography, costumes, and editing are all top-notch. The only criticism I have is the score. It's intrusive and irritating, though it's easy to understand why Scorsese chose to go in the direction he did with the music. It fits the period perfectly - but I'm still not a fan of music that telegraphs every move about to be made onscreen.

I'm also not a fan of Shutter Island's trailers, which I found very misleading. I haven't read Dennis Lehane's novel and I really had only the vaguest idea of what Shutter Island was all about going into the screening. The clips used in the trailer made me think of a gothic horror story, but that's not in fact what Shutter Island is. No, this is a mess with your mind sort of film, the kind you think you've got all figured out before it hits its midpoint that then throws in a couple of complete surprises at the end. I was positive I had it all sorted out and then the story took a turn I never anticipated, actually making the slow pacing of the first hour and a half worth sitting through. The punch packed at the end is a knock-out, and the rocky parts of the film are soon forgotten as the final act is a real doozy.

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Leader : Money, Power and E-Seva!

2010-02-19T23:34:00.000-08:00

Release date: 19th Feb 2010

123Telugu Rating: 3/5

Director : Sekhar Kammula

Music Director : Mickey J Meyar

Producer : AVM Productions

Starring : Daggubati Rana, Richa Gangopadhyay, Priya Anand, Suman and others...

Shekar Kammula’s latest film ‘Leader’ falls somewhere between being an inspiring film and a film trying too hard to convince you that it’s inspiring. ‘Leader’ is Shekar Kammula’s fourth film and with films like Anand and Happy Days, he has one of the few contemporary Telugu film directors who have carved a niche for themselves. The film also introduces Rana Daggubati to Telugu film industry and apart from him two new actresses Richa Gangopadhyay and Priya Anand made their debut in Telugu. AVM studios produced the film. ‘Leader’ narrates the story of a man who becomes a politician to bring a change in the system.

What is it about : Rana stars as Arjun Prasad, a Harvard student who lands in India when his father, the CM, is assassinated. His father (Suman) has one last wish, that Arjun should become the CM. However, all the political moves are played by Arjun’s uncle (Kota Srinivasa Rao) and Arjun’s relative Dhananjay (Subba Raju) also has a dream of becoming the CM. Quite soon, Arjun realizes that although his father was good at heart, he was too corrupt and had amassed over Rs.20,000 crores of illegal wealth. What does Arjun do with this money? Does he fulfill his father’s last wish? That forms the rest of this political drama.

What is Good: The central theme of the story about the coming of age of a young guy who goes on to become a leader is the USP of the film. It’s a theme which has a lot of soul and Shekar Kammula tries to infuse with as much drama as possible into this theme. Rana Daggubati makes a confident debut. He has a great screen presence and his diction is impeccable. Some of the most important and inspiring scenes in the film are written for Rana who excels in most of them with aplomb. Be it the scene where he dictates terms to his uncle or his humbleness while interacting with the poor, Rana makes sure that his stern gaze has a lot of sincerity. For every leader there has to be an equally strong rival and Subba Raju fits into this role perfectly. His role as Dhananjay, an ambitious politician who’s full of hatred and ego is remarkably written. Each scene where there’s a face-off between Rana and Subba Raju produces enough sparks to set the screen on fire. Harshavardhan as Rana’s aide does a commendable job. Suhasini and Kota Srinivasa Rao show a lot of restrain and grace in their acting. Both of them have a lot of influence on Rana’s character and it shows on screen. The two lead actresses, Richa Gangopadhyay and Priya Anand seem to have understood the limitations of their characterizations and they perform well. Since the film isn’t a love story, there’s hardly any onscreen chemistry between Rana and the two actresses. However, ‘Avunana Kaadhana’ song on Rana and Richa adds a whole lot of zing to the little moments of love with they share onscreen.

What is bad: Shekar Kammula’s version of how politics and politicians function these days is too uni-dimensional. Maybe, everyone is indeed corrupt as portrayed in the film, but beyond money there’s ego, greed and power-mongering. Except for Subba Raju’s role, these characteristics go for a toss among other politicians. A more serious issue is the way Shekar Kammula sets the story. It’s all too conveniently written for Arjun Prasad (Rana) that his father is the CM and he has oodles of money to splurge. Politics maybe about power, but what happened to democracy? What happened to the struggle which a wannabe politician has to undergo to become a leader? It looks as if Dr.Arjun Prasad uses too much of ‘Harvard Gyan’ to do his job and probably he takes his job so seriously that he hardly knows any other emotion except than looking serious all the time. On the other hand, the characterizations of the women especially Richa and Priya are the weakest when compared to all of Kammula’s earlier heroines. Of course, both of them are strong-willed and independent but their being a part of the story hardly makes a difference! No wonder, both of them have such little role to play in the scheme of things, yet the film drags a lot in the second half.

Technical Departments: Mickey J Meyer’s background score is outstanding in the film. It manages to hold and also arouse interest in all the vital scenes and elevates the mood throughout the film. Thota Tharani’s art is good and most of the bungalows, offices, and meeting halls look authentic. Vijay C Kumar’s cinematography is top notch. Marthan K Venkatesh’s editing is good and especially fantastic in the final act of the film. And finally, the man himself, Shekar Kammula who wrote the story, screenplay, dialogues apart from directing the film. His earlier stories were closely attached to reality and more about personal issues between friends. However, with ‘Leader’ he attempts to do something larger than life and creates this huge bubble of dreams and aspirations of what a ‘Leader’ should be like. The film is cramped in with so many details that somehow he ignores addressing some key issues such as ‘Is the last wish, a reason strong enough to take the responsibility for 8 crore people?’ among many other things. The dialogues in the film are brilliantly written and on the whole, Shekar Kammula manages to end the story on a high note.

Bottomline: It’s good to see that a top director has chosen to deal with politics in his films and kudos to debutant actor Rana for this honest and brave attempt. However a brief comparative analysis of the recent ‘political’ hits would suggest that struggle is a necessity (as in Shankar’s ‘Oke Okkadu) and an ego clash is fantastic (as in Mani Ratnam’s ‘Iddharu’) if a political drama has to be well-received by people. Shekar Kammula’s version of ‘Leader’ is set in an institution of monarchy and sadly the common man who should have been the most important part of the drama is given a miniscule role to play. It carefully concentrates only on ‘What if’ we had a leader like this. ‘Leader’ is the kind of film which will make you want to connect the dots with real life scenarios and Shekar Kammula cleverly pitches some characters which have resemblance to a few in our real life as well. It’s bound to appeal differently to different people and for this reason alone it’s quite possible that your opinion of the film will differ from others. Yes, it’s an honest film with loads of goodness but it’s too preachy than what it should have been. But then, everything is done with a good intention and the final act of the film along with ‘Maa Telugu Talliki’ and ‘Leader-Youth of the Nation’ songs, is amazingly shot and it sort of gives you Goosebumps! It’s a film which could have been much better and themes like this come once in a blue moon on such a large canvas with big budgets, big stars and big names attached. Watch it, because it’s a Shekar Kammula’s film with some good performances, good intentions and there’s still some hope left for more films on this theme of politics.

P.S: The only question which really matter is, ‘Does it Inspire You?’ Well, I will leave the ball in your court.

Source & Credits To 123telugu

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Great Mistakes

2010-02-17T19:16:00.000-08:00

Escaped Lion in Sharjah

2010-02-17T18:34:00.000-08:00

Unbelievable!

Technicians at Rolla car repair shops were having a normal day at work, when suddenly a nervous looking LION came out of no where...seemingly hungry because of how skinny his body looks

Workers freaked out, jumping over each other, some locking themselves up in cars, some in the shops nearby, and some just ran away...

But one brave guy took the picture of this Lion without making a sound....and there was the SHOCK when the Lion Turned around...nobody could believe it.........

Turns out it's their Indian co-worker's dog. He shaved the dog in such a way to look like a Lion.... let's just say the poor Indian co-worker has gotten a bit more than a hard pat on the back ;-) hahaha!!!

MY NAME IS KHAN is a Fascinating Love Story,

2010-02-17T09:46:00.000-08:00

Release Date : February 12, 2010

Taran Adarsh rating :: 4.5/5

Cast :: Shahrukh Khan,Kajol.

Music :: Shankar,Ehsaan,Loy

Producer :: Gauri Khan,Hiroo Johar

Director :: Karan Johar

MY NAME IS KHAN makes two strong statements...

* The first: B.C. and A.D. are designations used to label years in the Julian and Gregorian calendars. There's a third designation now - 9/11. Post September 11, the world stands divided. Terrorist outfits continue to strike in the name of religion and the common man, not even remotely associated with these groups, is bearing the brunt. The world is not a safe place anymore.

* The second statement: There're two sets of people in this world - the good and the bad. No matter how strong the evil forces are, good always triumphs.

MY NAME IS KHAN mirrors the era we live in. Not a day goes by when you haven't heard/read/watched news of terror attacks and innocents being killed. We live in turbulent times. Also, the movie states - and states very strongly, without mincing words - Not all Muslims are terrorists.

Karan Johar's cinema got more real from KABHI ALVIDA NAA KEHNA onwards. In MY NAME IS KHAN, the storyteller attempts to make a social statement and succeeds completely. At the same time, it takes no sides. If the protagonist says 'My name is Khan and I am not a terrorist', it also exposes those who misadvise the youth with inflammatory and rabble-rousing speeches.

Karan's take on the issue deserves the highest praise, since a subject like this is difficult to attempt. Final word? MY NAME IS KHAN is Karan, SRK and Kajol's best outing to date. Do I need to add anything more?

Rizvan Khan [Shah Rukh Khan moves to San Francisco and lives with his brother [Jimmy Shergill] and sister-in-law [Sonya Jehan]. Rizvan, who has Asperger's syndrome, falls in love with Mandira [Kajol]. Despite protests from his brother, they get married and start a small business together. They are happy until September 11, when attitudes towards Muslims undergo a sea-change.

When tragedy strikes, Mandira is devastated and they split. Rizvan is confused and upset that the love of his life has left him. To win her back, he embarks on a touching and inspiring journey across America.

Let me alert you. The story unfolds feverishly from the very start itself. So if you miss a scene or two, chances are you would've missed some vital links in the story. The fact is, there's too much happening in the first half. Although the narrative tends to get leisurely-paced at times, the wheels continue to move from one episode to another.

A number of sequences are endearing. For instance, the romance between SRK and Kajol is subtle, yet charming. But it's SRK's relationship with Kajol and their kid that's one of the best parts of the movie. Your heart bleeds when an accident occurs and their lives are torn apart. Kajol's outburst - first, when her son meets with a catastrophe and second, when she confronts SRK - are truly shattering.

MY NAME IS KHAN's strength lies in the fact that you root for Khan all through. At the same time, you are weighed down when he's in a vulnerable situation, especially when he's labelled a terrorist and thrown behind bars. You don't realize it, but the fact is that you, as a spectator, have already got entwined in Rizvan and Mandira's lives.

There's a slight hitch in the second hour, when SRK returns to Georgia to save a hurricane-ravaged hamlet. Also, the media exercise tends to add to the length of the film. Nonetheless, it's a minor hiccup that doesn't rob the film of its punch.

There's just one word to illustrate Karan's direction - exemplary. One of the finest storytellers of our generation, he deserves brownie points for deviating from 'Karan Johar brand of cinema' and attempting a film that knocks on your heart and stimulates your mind. With MY NAME IS KHAN, Karan takes rapid strides as a storyteller.

Shibani Bathija's screenplay is truly arresting. Shibani and Niranjan Iyengar's dialogues are noteworthy and many a times, applaud-worthy. Ravi K. Chandran's cinematography is awe-inspiring. Shankar-Ehsaan-Loy's music gels well with the nature of the film.

When a film stars two of the finest talents of the country, you expect nothing but the best. SRK, well, how does one describe his performance? To state that this is his best work so far would be cutting short the praise he truly deserves. In fact, no amount of praise can do sufficient justice to his portrayal of Rizvan Khan, who has Asperger's syndrome. His latest work is several notches above anything he has done before. The only compliment that I can think of is, SRK has a new screen-name now. Raj is passe, Rizvan it is.

Kajol is pure dynamite and casting her for this character was the most appropriate decision. No other actress could've matched SRK in histrionics the way Kajol has. In fact, SRK and Kajol compliment each other wonderfully well and this film only proves it yet again. It's a powerhouse performance from this supremely talented actress.

The film boasts of a number of capable actors, but the ones who leave a rock-solid impact are - in this order - Zarina Wahab, Sonya Jehan, Jimmy Shergill, Arjun Mathur, Parvin Dabas and Arif Zakaria. Sugandha Garg is confident. Navneet Nishan supports well. Vinay Pathak leaves a mark in a brief role. Tanay Chheda [young SRK] and Yuvaan Makaar [SRK and Kajol's son Sameer] are excellent. The American actors, especially the kid who plays Sameer's friend, deserves mention.

On the whole, MY NAME IS KHAN is a fascinating love story, has an angle of religion and a world-shaking incident as a backdrop. It not only entertains, but also mesmerises, enthrals and captivates the viewer in those 2.40 hours. At the same time, a film like MY NAME IS KHAN is sure to have a far-reaching influence due to its noble theme. I strongly advocate, don't miss this one!

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