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

Winners of 62nd National Film Awards 2015 |Court- Best Feature Film ; Ain- Best Malayalam Movie

National Films Awards - the most prestigious film awards in India organised by directorate of film festival will be declared soon for the best films in 2014. The nominations were invited by December 2014  and entries were accepted till January 2015. The awards will be presented on May 3,2015. The award for best film is given to Court. Vijay and Kangana Ranaut won best actors awards

The central committee for 62 nd national film awards for films in 2014 is headed by P.Bharathiraja.

Winners of 62nd National Film Awards 2015 |Court- Best Feature Film ; Ain- Best Malayalam Movie
Ain - won award for best malyalam film at the national film awards

The Dadasaheb Phalke Award - India's highest award in cinema- for 2014 is going to be awarded to veteran actor Shashi Kapoor. The details of the winners of  national film awards 2015 are given below

Winners of 62nd National Film Awards 2015 -in Malayalam 

Best Feature Film in Malayalam -Ain (by Sidhartha Siva)
Special Mention (Best Actor)- Musthafa (for playing the role of Manu in 'Ain')
Best Screenplay- Joshi Mangalath (Ottal)
Best Background Score- Gopi Sundar (1983)
Best Movie on Environment Conservation And Preservation1- Ottal (Director-Jayaraj)   

Winners of 62nd National Film Awards 2015 -Details

Dadasaheb Phalke Award - Shashi Kapoor.

Winners of 62nd National Film Awards 2015 |Court- Best Feature Film ; Ain- Best Malayalam MovieBest Feature Film- Court (Marathi, Hindi, Gujarati & English)
Best Direction- Srijit Mukherji for Chotushkone (Bengali)
Best Screenplay- Joshi Mangalath (Ottal)

Best Actress- Kangana Ranaut for Queen (Hindi)
Best Actor- Vijay  for Nanu Avanalla Avalu (Kannada) 
Best Supporting Actor -Bobby Simhaa for Jigarthanda (Tamil)
Best Supporting Actress- Baljinder Kaur for  Pagdi The Honour (Haryanavi)

Best Singer (Play back Male)- Sukhvinder singh
Best Singer (Female)- Uthara Unnikrishnan (Saivam)
Best Music- Vishal Bharadhwaj (Haider)
Best Background Score- Gopi Sundar (1983)
Best Lyrics- Na. Muthukumar(Saivam) 
Best Choreography:Bismil for Haider 
Best Costume Designer- Dolly Ahluwalia for Haider

Best Childrens Film -Kakka Muttai (The Crow’s Egg) -Tamil
Best Child Artist -J Vignesh and Ramesh for Kakka Muttai 

Best Writing on Cinema -- Pasupuleti for  Silent Cinema: (1895-1930)
Best Educational Film- Komal & Behind the Glass Wall
Best Exploration/Adventure- Film Life Force - India's Western Ghats
Best Investigative Film- Phum Shang
Best Animation Film- Sound of Joy
Best Short Fiction Film- Mitraa
Best Film Critic- Tanul Thakur
Best Writing on Cinema - Silent Cinema: (1895-1930)- Pasupuleti Purnachandra Rao
Best Film On Environment Conservation/ Preservation- Ottaal (Malayalam)
Best Popular Film Providing Wholesome Entertainment- Mary Kom

Indira Gandhi Award For Best Debut Film Of A Director- Asha Jaoar Majhe (Bengali) 

Best Tamil Film- Kuttram Kadithal
Best Telugu Film- Chandamama Kathalu
Best Kannada Film- Harivu

Best Malayalam Film- Ain
Best Hindi Film: Queen
Best Assamese Film- Othello
Best Bengali Film- Nirbashito

Best Konkani Film- Nachom - IA Kumpasar
Best Marathi Film- Killa
Best Odiya Film- Aadim Vichar
Best Punjabi Film- Punjab 1984
Best Rabha Film- Orong
Best Haryanvi Film- Pagdi The Honour

The Divergent Series: Insurgent 3D Movie Review and Ratings

The Divergent Series: Insurgent 3D Movie Review
The Divergent Series: Insurgent (also known as Insurgent) is a 2015 science fiction action film directed by Robert Schwentke, based on Insurgent, the second book in the Divergent trilogy, written by Veronica Roth. It is the sequel to the 2014 film Divergent and the second installment in The Divergent Series produced by Lucy Fisher, Pouya Shabazian and Douglas Wick, with a screenplay by Brian Duffield, Akiva Goldsman, and Mark Bomback. Robert Schwentke took over from Neil Burger as director, while Burger will serve as the executive producer of the film. Adding to the existing cast, the supporting cast was filled out with Octavia Spencer, Naomi Watts, Suki Waterhouse, Rosa Salazar, Daniel Dae Kim, Jonny Weston, Emjay Anthony, and Keiynan Lonsdale.
The Divergent Series: Insurgent 3D Movie Review and Ratings

Cast and Crew:

Poduced by:Douglas Wick,Lucy Fisher,Pouya Shabazian
Screenplay by: Brian Duffield,Akiva Goldsman,Mark Bomback
Music by:Joseph Trapanese
Cinematography:Florian Ballhaus
Edited by :Nancy RichardsonStuart Levy
Production companies:Red Wagon Entertainment,Summit Entertainment,Mandeville Films
Distributed by :Summit Entertainment,Lionsgate

Shailene Woodley
Theo James
Octavia Spencer
Jai Courtney
Ray Stevenson
Zoƫ Kravitz
Miles Teller
Ansel Elgort
Maggie Q
Naomi Watts
Kate Winslet

The Divergent Series: Insurgent 3D Movie Story Plot:

One choice can transform you-or it can destroy you. But every choice has consequences, and as unrest surges in the factions all around her, Tris Prior must continue trying to save those she loves--and herself--while grappling with haunting questions of grief and forgiveness, identity and loyalty, politics and love. Tris's initiation day should have been marked by celebration and victory with her chosen faction; instead, the day ended with unspeakable horrors. War now looms as conflict between the factions and their ideologies grows. And in times of war, sides must be chosen, secrets will emerge, and choices will become even more irrevocable--and even more powerful. Transformed by her own decisions but also by haunting grief and guilt, radical new discoveries, and shifting relationships. Tris must fully embrace her Divergence, even if she does not know what she may lose by doing so.

The Divergent Series: Insurgent 3D Movie Theater list and Show Timings:

  • INOX: GVK One, Banjara Hills 12:15 PM05:30 PM10:45 PM
  • PVR: Cyberabad, Inorbit Mall 10:45 PM
  • PVR: Hyderabad Central Mall 04:45 PM10:00 PM
  • BIG Cinemas: Ameerpet 05:00 PM10:20 PM
  • Prasads: Large Screen 02:30 PM08:00 PM10:45 PM
  • PVR: Banjara Hills 08:00 PM
  • INOX: Maheshwari Parmeshwari Mall, Kachiguda 12:00 PM05:00 PM09:51 PM
  • Asian M Cube Mall: Attapur 07:15 PM10:15 PM
  • Tivoli Cinema: Hyderabad 05:00 PM07:30 PM
  • PVR Sujana Forum Fiza Mall: Kukatpally 05:20 PM07:55 PM10:30 PM
  • Cinepolis: Manjeera Mall, Hyderabad 05:45 PM08:15 PM
  • Cineplanet Multiplex: Kompally 07:20 PM
  • Asian CineSquare Multiplex: Uppal 07:20 PM10:20 PM

The Divergent Series Insurgent 3D Movie Rating

Insurgent Ratings 6.8/10

The Divergent Series: Insurgent 3D Movie Trailer:

NH10 Movie Review

NH10 Movie Review
Starring: Anushka Sharma, Neil Bhoopalam, Darshan Kumar
Director: Navdeep Singh
Writer: Sudeep Sharma
Producers: Phantom Films, Clean Slate Films
Distributor: Eros International

The first thing that strikes you about NH 10 is how real it is. And how sparse yet fulsome it’s story is. Pregnant with silences that speak volumes, in typical cinema of journey format, NH 10 is a disturbing but thrilling ride that sucks you right in.
The film establishes the stark, everyday contrast in the lives of Gurgaon’s residents by showcasing a scary incident. Meera and Arjun are married, rich, beautiful and ambitious (Anushka Sharma & Neil Bhoopalam). A wayward incident that threatens her life brings a sense of permanent worry in Meera’s life.
With the police helpless to manage many porous borders between Haryana’s badlands and glittering Gurgaon, Meera is advised to buy a gun for her protection. And the weapon sits heavy on her lissome hand. Its layered beginning impressed me for setting up the reality of Gurgoan instantaneously. Like a cocky middle finger raised to poverty & neglect of rural Gurgaon, the new glass and chrome high rises of this suburb dazzle you with flashy, nouveau money & a glamorous lifestyle. Yet just minutes away from the posh gated communities, are rural folk who eke out a living from poorly paying blue-collar jobs. Gurgaon is also an artificially cut out portion from Haryana. And Haryana, which scores higher than most Indian states in female infanticide, rape & crime, shares many porous borders with Gurgaon. Director Navdeep Singh uses sparse dialogue but plenty of bottled up feelings and problems, (including gender bias at the work place), to establish Meera’s sense of discomfort.
NH 10 progresses with a weekend break that Arjun plans for Meera. Their holiday takes a nasty turn when the couple witnesses a case of abduction and violence in broad daylight. Despite Meera’s counsel, Arjun takes it upon himself to figure out this ‘mess’. They witness violence & brutality at an unmatched scale. Scared witless, they must escape being witnesses to these coordinated acts by men from one village. Here begins their painful, desperate scramble to safety. Post interval, when the police turn out to be connivers, Meera’s encounter with a woman sarpanch (a surprise there!) brings out both the survivor & avenger in her.
Rather than focus on the film’s story, I would like to highlight the unique storytelling method that Navdeep Singh uses for his films. His cityscapes are characters, their realities impossible to detach from the central concept. He plays with colloquial practices, beliefs, angers & fears. And he hardly uses dialogue. I wish in this film he had used some more. Having said that, NH 10 sucks you in from that point in the plot when the film takes a macabre turn. What it chillingly brings to focus is how commonplace it is to kill, maim or abuse in rural Haryana.
Actually, if you take a close look, such realities lie hidden under a reed thin surface in almost all rural (and urban) places of our country. And that a new India- snazzy, spend thrift, bold & agnostic- is creeping into these realities at an alarming rate, makes their clash all the more violent. How women play catalysts at different levels in this story makes for rewarding viewing.
Anushka Sharma is brilliant as Meera. She has always come across as a genuine cut above the rest. She proves that by playing Meera in a completely relatable manner. Darshan Kumar & Neil Bhoopalam are competent, but the film’s gritty journey is so overwhelming that paying attention to the performances becomes difficult. At times, odd (but hummable) songs are inserted, perhaps to tame the blood letting onscreen.
A special word for the nuances captured by NH10. In most parts of India, you will see a swear word written on the door of a ladies loo. Sometimes, when you go to a policeman for help, he will tell you why you shouldn’t wear/eat/ do something in a certain manner ‘for your own safety’. Meera’s reactions merge with mine and perhaps with most women, reiterating how real these incredible situations actually is.
Kudos to Anushka Sharma for co producing this film with Phantom- at least it got the requisite support that a film like this needs. Watch NH 10 for a real, but cinematically brilliant ride. It’s hard to stomach, but then so is the inimical Indian reality that it portrays on screen.

Movie Rating:- 3/5

Badlapur movie review

Badlapur movie review
The axe forgets; the tree remembers. Director Sriram Raghavan’s Badlapur starts off with this African proverb, clearly setting the tone of the film to be a revenge saga. The film has Raghavan’s class written all over it, just like his previous flick Agent Vinod, but this time around the filmmaker strikes the right chord unlike Saif Ali Khan-Kareena Kapoor Khan starrer. Varun Dhawan’s transformation from a boy next door to a head smashing murderer, has been the film’s selling point and the actor did show promise with hard hitting promos of Badlapur. So does Varun deliver what he promised? I will tell you in a while as we dive into the review.

What’s it about:

Badlapur takes you through one man’s quest for revenge over a span of 15 years. Raghu (Varun) loses his wife Misha (Yami) and kid, when they are accidentally killed in a bank robbery by Layak (Nawaz) and his partner in crime Hurman (Vinay Pathak). While Hurman escapes with money, Layak is nabbed by the police and is sentenced to imprisonment for 20 years. Meanwhile, Raghu tries to extract the name of Layak’s partner but in vain. After 15 years, a NGO worker, Shobha (Divya Dutta), appears at Raghu’s doorstep, informing him that Layak is dying due to Cancer and pleads to Raghu to furnish a forgiveness letter so that Layak can spend his remaining days of his life in the open. Through Layak’s mother, Raghu gets to know the whereabouts of Hurman and decides to forgive Layak. Soon Layak is freed, but Raghu goes after Hurman and his wife Kanchan( Radhika Apte) torturing them psychologically before brutally murdering them. Soon Layak tries to contact Hurman for his share of money from robbery, but in turn comes face to face with Raghu and gets to know that his friend has been murdered. How do Raghu and Layak settle their equation forms the climax of the story.

What’s good:

Like any Sriram Raghavan film, Badlapur is technically sound, with flawless camera work and crisp editing. While story might not be an intelligent one, it is witty, cheeky and driven by the feeling of revenge. Varun Dhawan has given an honest performance, and the hard work that he had put for the role is evident onscreen. His brooding demeanour, and unique, at times torturous, revenge seeking antics will leave you in awe and I can surely say I have new found respect for Varun. But it is Nawazuddin Siddiqui who steals the show, with his amazing body language, which is witty and at times cheeky, making you wonder is there anything the actor can’t do. Nawaz nails the shadiness of Layak’s character, but also shows his emotional side with his love for Jhimli played by Huma Qureshi. Vinay Pathak and Radhika Apte are fantastic in their small but important roles and play an integral part in the film’s narrative. Scenes involving Dhawan, Apte and Pathak are simply mind blowing. Yami Gautam looks gorgeous in a tiny role and Huma, playing a prostitute, gives a decent performance, though her character didn’t seem to have any impact on the story. Sachin-Jigar’s music blends perfectly with the genre of the film. Sriram Raghavan’s direction is praiseworthy as he tells a simple tale with so much impact, deriving some award winning performances from his actors. The film has portions of semi nudity and implied sex scenes, which has been handled deftly.

What’s bad:

The film’s first half is a drag as the actual revenge drama unfolds only after the interval. Though Varun has done a terrific job, he seems to be a little out of place at the start of the film, but later gets into the skin of his character with every passing minute. Neither the film’s title nor it’s tag line – Don’t miss the begin, make much sense as they don’t seem to be in sync with the story. The film’s climax is sort of an anti-climax and is a huge let down, but luckily doesn’t squander the film’s impact which it had build over the span of two hours.

What to do:

It is not an everyday occurrence when a film manages to be witty, bold and classy at the same time. If you enjoy intense dark flicks, Badlapur is for you. Even if dark films are not your cup of tea, watch it for Nawazuddin Siddiqui and Varun Dhawan, who are the heart and soul of the film.

Movie Rating:- 3/5

Dirty Politics Movie Review

Dirty Politics Movie Review
Film: "Dirty Politics"; Cast: Mallika Sherawat, Om Puri, Naseeruddin Shah, Jackie Shroff, Ashutosh Rana, Atul Kulkarni and Sushant Singh; Director: K.C. Bokadia;

The pot-bellied grotesque politician from Rajasthan used to be the face of politics in India at a time when the Chautalas were doing their 'ghotalas'. With a new crop of smarter netas, hopefully less susceptible to corruption, the era of the 'bad' politician seems blessedly behind us.

And that's precisely why producer-director K.C. Bokadia's 'dirty' look at the filth in Indian politics is hopelessly outdated. This is the murky Machiavellian world of Prakash Jha's politicians stuck in a time-warp. Denuded of all intellectual sensibility, it harks back to the 1970s when netajis in our films were so caricatural that they belonged to cartoons invernacular newspapers.

Om Puri plays his role of the lecherous politician with lip-smacking relish. Like a diabetic man whose wife is away to her mother's house, while he gorges on forbidden junk food.

This is junk food for the audience that believes cinema is about seductive heroines, lascivious villains, loud over-punctuated background music, camera angles and cinematography that seem to adhere to the gimmicky treatment, like an annoying snivelling child clinging to its mother's bosom.

Bokadia's cameraman Paneer Selvam seems to know exactly what the director wants. Fleets of politicians' cars are shot in high-speed to save time. Or is it to make the frames look more exciting than they actually are? God knows, this film desperately needs a reason to survive its lengthy playing time. Actors of the calibre of Atul Kulkarni and Sushant Singh grapple with a script and lines that are so outrageously didactic that they sound like messages written on the walls of the loo at a government office visited week after week by tired pensioners.

Curiously, Kukarni and Singh play honest policemen, brothers named Nischay and Nirbhaya. Get it? They work together to eradicate the dirt from politics. But who's going to clean out Indian mainstream cinema from the lingering legacy of a distastefully pungent past that films of this kind stubbornly cling to?

It is hard to say which is a funnier sight. Mallika Sherawat trying to act in a sari. Or Mallika Sherawat trying to act coy while Om Puri takes off her sari. Either way she cuts a 'sari' figure trying to do what she was never cut out to do - act.

As the dancer-turned-politician Anokhi Devi, Mallika tries to compensate for her lack of acting chops with facial vigour and physical energy.

There is a particularly unaesthetic lovemaking sequence done in deliberately bad light which can't hide Puri's flab and Sherawat's disinterest. Can a film about a horny politician and a wily item girl be made without the two looking interested in each other?

Reduced to the indignity of playing a lecherous over-libidinous politician who has the hots for an ambitious siren, Om Puri does what he can, given the constraints of a corny script that relies on sleaze and shock value to get our attention. Other talented actors like Naseeruddin Shah (playing an honest journalist stuck with a daughter whom the politicians kidnap), Anupam Kher (playing a straight-faced honest CBI officer), and Ashutosh Rana (very effective as Om Puri's right hand man) Aseem, seem to be in it for fun.

Nothing that we see in "Dirty Politics" justifies the presence of these talented actors.

A very poorly executed film which makes you feel sorry for the body-politic of the nation. Surely things are not so bad in politics?

Movie Rating:- 2/5

Review: Rang Rasiya is an important film

Movie Gallery

Rang Rasiya is not a consistent film, but one that tells a story of a pioneering artist and visionary, a story decidedly worth telling, says Raja Sen.

Censorship is an utterly pointless and regressive activity, and we Indians have always been good at it.

Good at said pointlessness, that is, not at actually establishing some sort of sensible organisation that knows the meaning of the word 'context'.

Ketan Mehta's film Rang Rasiya, a biopic of the artist Raja Ravi Varma, deals with artistic censorship, a subject that remains immensely relevant in a country where filmmakers are asked to cut out dialogues and trim scenes by 20 percent just cause the censor board said so.

The movie opens with a courtroom scene, one that reminded me of Howl, the James Franco-starrer about Allen Ginsberg's obscenity trial. A compelling film, it concentrated on the fascinating case -- recreating preposterous but real-life court transcripts -- and, on the side, explored the beat poet's life, love and history.

The story, however, was always the trial and I wish Mehta too had kept the courtroom front and centre in his film instead of trying to give us a concise life-and-times or a treatise on censorship instead of both

That is the fundamental issue with Rang Rasiya: it starts off as a condensed biopic, theatrically moving from one milestone in the artist’s life to another, with scarcely any time to breathe.

It is a fascinating life, sure, but this narrative progression -- with long stretches devoted to mediocre songs and dramatic moments constantly underscored by overdone background music -- plays out like a school play, with bad costumes, clunky lines and no detailing.

Randeep Hooda, who plays Raja Ravi Varma, is solid but the film around him is eye-rollingly overdone. Like the books we see as background in a study, leatherbound hardbacks with nothing written on them to distinguish one from the other, the film appears spineless. 

Thankfully, the second half of the film, where the courtroom battle comes more sharply into focus and the narrative of his life actually gets going, is genuinely interesting. Portions where the artist took an interest in the cinema, for example, bustle with energy. Even the background score gets jauntier.

Hooda inhabits the character quite impressively, doing well especially to keep his body language consistent even as he ages considerably.

The first half, as said, rests entirely on his shoulders, and he -- like the audience -- has noticeably more fun post-intermission. 

Nandana Sen plays Sugandha, a fascinating muse figure pathbreakingly bold enough to bare herself so the artist could paint the stories he most cherished.

At a time when Hindi cinema still blushes at the thought of a nipple, Sen -- in one tasteful, elegantly shot scene -- exposes herself and, like Sugandha, puts herself out there so we can all dwell on the censorship issue. It is a fearless, uninhibited performance and Sen is particularly well-cast because of how well her classical features suit Varma’s paintings when transposed upon them. 

Rang Rasiya is not a consistent film, but one that tells a story of a pioneering artist and visionary, a story decidedly worth telling.

We need to treasure our creators and innovators, and while I wish the film was carved by the blade of the edgier Ketan Mehta (of Mirch Masala vintage), I’m relieved that at least films like these are being made and -- in relation to the exposure important in context of the censorship debate -- that we’re getting to see them.

And one scene, in particular, involving a certain Indian cinematic pioneer gave me goosepimples.

One odd moment, however.

After Sen bares herself to Hooda and the two cavort passionately on the floor, painted merrymakers celebrating each other’s bodies while a song plays, the scene ends with a topshot, with their painted, naked bodies lying against each other.

And while she lies there brazen and defiant, Hooda awkwardly drapes a leg around his own thigh in an utterly-misplaced bid for modesty. Perhaps, then, our censorship issues stem from the fact that our women are just fine, but our men can’t quite deal with themselves just yet.