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 Hostel Review - solid idea gone awry

When you step out of school, you look forward to the life in college and of course, 'freedom'

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Yeh Faasley Internet Movie Online

Remember the 2005 film, MAINE GANDHI KO NAHIN MARA directed by Jahnu Barua? The film in which Anupam Kher holds himself responsible for killing Mahatma Gandhi? Now, in 2011, Anupam Kher plays a character in YEH FAASLEY, who's accused of killing his wife. Although poles apart, the courtroom scenes and Anupam Kher are the common elements in both the films.

YEH FAASLEY basically explores a father-daughter relationship. Arunima (Tena Desae) is all excited to be back home after completing her studies, so that she can be with her father Devinder Devilal Dua aka Dev Dua (Anupam Kher). Dev is very protective about Arunima which is evident when he bashes up a guy who gets cheeky with her at a wedding. It's clear; Dev can go to any extent for her daughter. 

Meanwhile, there's an unsaid bond of love between Manu (Rushad Rana) and Arunima and Dev is very happy for them. All's well till the day Arunima finds a will written by her mother, who passed away in an accident when Arunima was just two. Why someone would make a will at such a young age, is what leaves her perplexed. There's clearly more to it than what meets the eye. Her attempt to know more about her mother goes in vain as Dev doesn't like to talk about her. In fact, he even hides some important things about her from Arunima like her being a professional singer and her closeness with musician friend Digvijay Singh (Pawan Malhotra). A relentless Arunima, in her quest to find the truth about her mother, comes to know that Dev was apparently responsible for her death. Will she ever get to the bottom of the secret is what ensues. 










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Angel Internet bollywood movie

Angel

Hindi films have often depicted rare illnesses/disorders/disabilities... Ghajini [Anterograde Amnesia], PAA [Progeria], My Name Is Khan [Asperger Syndrome], Taare Zameen Par [Dyslexia], Black [Alzheimer's], Karthik Calling Karthik [Schizophrenia], Guzaarish [Paraplegia]. Now Ganesh Acharya's Angel talks of Cerebral Palsy. Like his peers, Acharya isn't merely highlighting a disability. Angel is primarily a love story... a hatke prem kahani in filmi ling

Love can happen anytime, anywhere, to anyone. It can happen to people who have arrived at the sunset of their life and also to those with serious disabilities. Though we talk about how love is the purest emotion, our society, very often, does not accept love when it doesn't fit into our perception of love. To cite an example, love between an elder person and someone half his/her age or love between members of the same sex or between disabled individuals may make us uncomfortable. We get judgmental at times, thinking that we are right, while others - those who don't act according to what we feel is right - are labeled as rebels, oddballs and misfits. Angel does that. It goes into the unconventional zone, depicting a love story between a social misfit and a woman suffering with Cerebral Palsy.

There's talk that Angel is similar to Guzaarish. It's not. Nor is it similar to Sadma. In Guzaarish, Hrithik was completely paralyzed below his neck, while Madalsa's character in Angel can move and crawl. The fact is Angel borrows heavily from a South Korean film called Oasis, directed by the acclaimed Lee Chang-dong. In fact, if you've watched Oasis [it's one of my favorites], it has the quality to stay fresh in your memory even after you've watched incalculable films subsequently. But Angel fails as a film to strike a chord.

The subject material is stunningly bold-n-beautiful, but the challenge lies in implementing it with conviction. Ganesh Acharya had handled the emotional moments with flourish in his directorial debut Swami, but he doesn't get it right this time. He had an opportunity to offer a convincing vision of what love actually means. But the writing lets him down and therefore, Angel doesn't come across as an intriguing human drama. The delicate love story lacks the sensitivity, feeling, compassion and understanding it deserves.

Final word? Angel is just not a compelling human story!

Abhay [Nilesh Sahay] flaunts society's rules, unaware of or unconcerned with the consequences of his actions. After serving his sentence for the manslaughter that he had committed, Abhay decides to meet the family members of the deceased man and apologize for his reckless act. When he arrives at the address, he finds a couple moving out of their room, handing their disabled sister, Sonal's [Madalsa] responsibility to a caretaker [Rakhi Vijan]. Sonal suffers from Cerebral Palsy, while her brother and sister-in-law cash on her disability. Abhay is attracted to Sonal and leaves behind his phone number.

Sonal calls up Abhay one night. Slowly, a friendship begins to blossom between Abhay and Sonal. One fateful night, Sonal's brother and sister-in-law catch Abhay and Sonal making love. Abhay is arrested and it's up to Sonal to try to absolve Abhay, who is accused of raping her. The world is against them...

Angel had the potential to move you with a compelling love story, but the writing is amateurish, while the execution of the material is equally childish. There are gaping holes in the screenplay and one wonders how it was okayed in the first place. For instance, the caretaker is never around when Nilesh visits Madalsa. StrAngely, not even once do the neighbors living in this busy chawl spot Nilesh taking Madalsa out for an outing.

That's not all, the songs are like the unwanted guests here that pop up at regular intervals. From the rustic chawl, the lovers suddenly start singing songs in Switzerland and are back to the chawl in Mumbai the moment the song ends. The climax takes the cake. It is most hurried and looks like a screenplay of convenience, with Nilesh being released from prison and cleared of rape charges so easily. The music doesn't work, except for the title track. But the placement of songs is a problem. Cinematography is good. Dialogue are below the mark.

Given the poor script, there's not much the lead actors can really do. Madalsa does try hard and so does Nilesh. Both make a sincere attempt and the earnestness shows. The sole sequence which really appealed to me is when Madalsa feeds Nilesh; it's a touching moment. Aroona Irani is as usual. Manoj Joshi is loud. Kishori Shahane Vij doesn't get scope. Rakhi Vijan is passable.





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Farah Khan tried all the industrial tricks to give a real hit during the Christmas with the hit pair Akshay Kumar and Katrina Kaif in Tees Maar Khan. However, all the hypes created around ‘Sheila Ki Jawani’ could not safeguard this latest Farah Khan flick.
Akshaye Khanna plays a superstar Aatish Kapoor, who dreams to win an Academy Award one day. Katrina is a wannabe actress Anya, who also happens to be the girlfriend of Tees Maar Khan (Akshay Kumar). The conman disguised as a Hollywood filmmaker ‘Tees Maar Khan’ plans a big train robbery of 10, 000 kilograms of antiques and goes for a fake shooting of a film. He even goes on signing Aatish Kapoor as the hero and appoints some villagers for this purpose.

But then, the viewers will scratch their hair to find logic behind Aatish signing for the act. The film does not have the typical flavor of Farah Khan films. It seems she messed up the things after signing Akshay and Katrina or more concentration went to the much talked item number ‘Sheila Ki Jawani’. The spice factor is missing and tries to go by the slapstick way.
The film is a remake of 1966 movie Caccia Alla Volpe but one change in the Hindi version is that the robbery is shifted to train than the original ship. However, Farah could play around the interesting train plot and somewhere the magic and charm got lost. It seems Sheila is the only spicy thing in the story with her raunchy choreography.







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Tanu Weds Manu

Another new romantic comedy about a wedding, but also prove to be a party to remember. A London-based Delhi boy and his family arrive at a Kanpur household kicking off a vibrant ruckus of prattle and curiosity. Tanu Weds Manu is a colorful and playful wedding drama that suffers from a wafer-thin plot and lack of chemistry between the lead pair.Like his directorial debut STRANGERS, director Aanand L Rai opts for unconventional and unpredictable situations in TANU WEDS MANU. Of course, the fact that Tanu and Manu would tie the knot sooner or later is at the back of your mind, even before the reels have begun to unfold, but you want to experience their journey - their voyage from strangers to lovers. Meet Manu as R. Madhavan, a seedha saadha Doctor from London. Intelligent, temperate and from a respectable family, the perfect groom which every parent wants for their daughter. When he arrives in India, he realizes that India has changed and so have the people. The Indian women in particular are more attracted towards the Western lifestyle. Family pressure leads him to Kanpur to meet Tanu that’s Kangna Ranaut, the quintessential small-town girl who has studied in Delhi.Anand Rai’s Tanu Weds Manu is a colorful and playful wedding drama that suffers from a wafer-thin plot and lack of chemistry between the lead pair, but survives simply because it is an endearing film with a lovable supporting cast, and provides a delectable experience of small town India. Tanu (Kangana Ranaut) and Manu’s (Madhavan) tangled relationship kicks off on a shaky note with the scene where the all-too-simple NRI doctor groom falls in love with a sari-clad bride-to-be who has passed out after taking sedatives. Creepily, he even takes a photo of her unconscious state and steals a kiss. Thus begins Manu’s inexplicable infatuation for Tanu. His only reaction is to smile in front of her, while hers is to selfishly play games with his heart.The NRI male lead – Manu – is so shy and simple in his bespectacled niceness that he becomes a one-note character. Tanu, on the other hand, displays an intriguing package of character traits, even throwing in a fleeting hint of her bi-curious sexuality (cleverly handled by Rai). Yet her characterization also hits an extreme note and you’re left wondering why these two should ever be together The film works, oddly enough, because of its ambience. The people and places around Tanu and Manu make the film enjoyable. Deepak Dobriyal as Manu’s loyal buddy Pappi is a delight with his spontaneity. His reactions to the various situations evoke the most laughs. Eijaz Khan as buddy #2 Jassi also adds spunk to the goings-on, while his new bride Payal, played confidently by Swara Bhaskar, proves to be a much more interesting and dynamic character than her best friend Tanu. Tanu Weds Manu will be categorized in the same genre as other charming and revamped rom-com wedding flicks Jab We Met and Band Baaja Baraat. And for the most part, Rai succeeds in making the story and situations reflective of today’s India. But, unlike the other two films mentioned, this film lacks the crackling lead pair that would have made it a much better experience. 










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Anjaana Anjaani

Anjaana Anjaani, the story of two strangers, Ranbir Kapoor (Aakash) and Priyanka Chopra (Kiara), who meet on a lonely street at midnight and turn into soul mates. They have a common goal to end their life and promise each other to complete experiences before they accomplish that.

On the surface the film has a noble message that life is beautiful and must be valued but there is something unconvincing the way movie unfolds, the characters on the verge of suicide appear far from depressed or worried. Anjaana Anjaani has a great star cast, great chemistry, a decent plot, a decent direction and a wonderful cinematography, what it lacks is a mature script. It appears as if the makers were in hurry to complete the script and in turn the movie, which is why director was dodging between a serious note and a comic undertone at the same time, which leaves audience confused and doesn’t seem entertaining at all.

 The story drags endlessly, the film has exotic locations, great costumes (Watch for Ranbir Kapoor and Priyanka Chopra’s stunning clothes) but no soul, it is a synthetic love story and probably the only romantic film with the most forgettable music, which is a big turn off at least for me, as we have come to expect something really great from Vishal Shekhar, who gave music to “Bachna Ae Haseeno”.

 Still my verdict will be that you should watch this movie only for the great performance of Ranbir Kapoor and Priyanka Chopra otherwise there is nothing much that you are missing; I give movie a 3 out of 5 stars

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Be forewarned. De Dana Dan is the most bizarre film from the maharaja of laughathons, Priyadarshan. Not even in your wildest dream you'd think that Priyadarshan would place almost an entire film in a hotel and have its entire cast, comprising of 26 [or is it 27?] characters, most of them weirdos, interacting with each other. Brings back memories of Blame It On The Bellboy? May be! But Priyadarshan needs to be credited for pulling it off. There are times when you laugh hysterically at the most outlandish jokes and situations. There are times when a raised eyebrow or a wide-open jaw makes you break into a guffaw.

Buzz up!

Be cautioned. De Dana Dan is a loud film, with each and every character screaming on top of his/her voice, with the characters shouting, running, even floating and swimming in the end. But what do you expect in a Priyadarshan film that has a title like De Dana Dan? The promos never promised path-breaking or thought-provoking cinema that would give birth to debates and discussions. So why look for logic in this one?

De Dana Dan makes no qualms of narrating a story you haven't heard before. Here, the story is non-existent and it's left on Priyadarshan to mix-n-match those two dozen characters and keep the momentum alive for the next 2.45 hours. De Dana Dan promises laughter and entertainment and sticks to its promise. This one's not for the hard-nosed types, but for those who worship escapist cinema. Who want to chuckle, giggle and chortle at those mindless jokes. In short, De Dana Dan is a pure dhamaal entertainer!

Nitin [Akshay Kumar] is a butler, cook, driver, watchman, gardener to a wealthy female industrialist [Archana Puran Singh] in Singapore. Like any young man, Nitin too dreams of a better life. He desperately wants to become rich and marry the love of his life, Anjali [Katrina Kaif], who supports him financially.

Ram [Suniel Shetty], Nitin's best friend, also came to Singapore with the dream of striking it rich, but ended up a courier delivery man. He falls for Manpreet [Sameera Reddy], but her high society parents will never approve of marriage, not unless Ram has lots and lots of money.

In the midst of all this is Harbans [Paresh Rawal], a shrewd businessman, who's looking for ways to multiply his income and avoid his debtors. He decides the best way would be to marry his son [Chunky Pandey] off to a girl whose parents can give him a large dowry. He is introduced to Manpreet's parents at a function and is impressed by their social status. He introduces himself as a well-established businessman, impresses them and they decide to get Manpreet and Harbans' son married.

With several factors working against them, Nitin and Ram soon reach a dead end in their relationships. When both receive ultimatums from their girlfriends, they realize that only a life of vice can help them out of their misery. They come up with an audacious plan to kidnap someone important and demand a ransom. The kidnapping goes awry and both hide at a local hotel while waiting for the ransom money. But misfortune is never far and the kidnapping spirals out of control.

Meanwhile, Manpreet's wedding reception is being held at the same hotel that Nitin and Ram are hiding in. Soon, they are joined by a motley set of characters including a Chinese Don [Asrani], a hired assassin [Johny Lever], a ACB police inspector [Sharat Saxena], a club dancer [Neha Dhupia], an ambassador [Vikram Gokhale], a young frustrated double crossing wife [Aditi Govitrikar], a letch [Shakti Kapoor], a drunken waiter [Rajpal Yadav] and a dead body nobody wants to check into the hotel.

De Dana Dan is atypical Priyadarshan film that has the unmistakable stamp all over it. But, at the same time, De Dana Dan is erratic and uneven - energetic at times, lethargic at places. Also, the culmination to the film is very similar to the director's earlier works, with the entire cast running helter-skelter. On the flip side, you miss Akshay's presence in the second hour. He disappears [gets locked in a cupboard] for at least 20 minutes and the focus, hence, shifts to the other characters. His fans will miss his presence, for sure. Besides, the film tends to get very lengthy towards the second half and overtly verbose too.

Director Priyadarshan is synonymous with comedies and the ace storyteller promises laughter in abundance. Handling so many characters, plus making a film on mistaken identities could be very tough, but the director gets it right. Pritam's music is alright, while the RDB track, 'Paisa', is the pick of the lot. Salim-Sulaiman's background score is energetic. K. Ahambaram's cinematography is alright. The review would be incomplete if one ignored the dialogue writer's [Jay Master] contribution to the film. The lines are laced with wit and soaked in humour and bring the house down on several occasions.

De Dana Dan has so many characters that it gets difficult to pinpoint or single out any one actor. Akshay is at his best in a Priyadarshan film and De Dana Dan proves it. Suniel is natural to the core. Paresh is incredible; he pitches in a superb act. Katrina and Sameera don't have much to do. Amongst the plethora of actors, Johny Lever, Neha Dhupia, Manoj Joshi, Asrani, Vikram Gokhale and Archana Puransingh deserve special mention. On the whole, De Dana Dan is targeted at the masses and it delivers laughter in abundance. Leave your brains behind to enjoy this madcap entertainer!





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Dabang internet free bollywood movie

Dabang

Dabangg' is a story of inspector Chulbul Pandey and his life. Too many elements like love for mother, romance, struggle with step-father and step-brother, an effort to fight corrupt politicians and much more is packed in this film.The Salman Khan and Sonakshi Sinha starrer movie received a mixed reviewed from the janta. The opening is record breaking. Many eager youngsters queued up to see the much hyped movie ‘Dabangg’ at a city multiplex. And at the end of the movie this is what they have to say:-

 

Madhavi Kulkarni says, “It is like a movie from the 90’s. Too much masala and I would like to say that it is a fun-watch but its only one-time watch.” Roshani Dattani took a very tough stance against the movie. She says, “I didn’t like the movie. And Sonakshi Sinha is also strictly okay. There is too much action in the movie and at many places unwanted.

 

Balvinder Singh claims that he is a die-hard Salman Khan fan and has watched all his movies. He says, “This is definitely a must-watch for all Salman Khan fans. He looks great, the action is also good and so are some of the dialogues. I would also like to add that Malaika’s item number ‘Main Zandu balm’ is total paisa wasool.”

 

Mahesh Shatbhute thinks that ‘Dabangg’ is an average movie. “It is neither bad nor good. It is an okay movie. And if you have nothing else to do during this long weekend, you can definitely watch the movie.”

 

And our 5th respondent Namit Hasnandani liked the movie. “According to me it is a total entertainer. Its like a true Bollywood ishtyle entertainer. A typical Salman flick.” 

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First things first! It�s said that NAMASTEY LONDON is the 2007 adaptation of Manoj Kumar�s immensely likable PURAB AUR PACHHIM. Sure, NAMASTEY LONDON is about a spoilt British girl of Indian origin and a desi guy, but the similarities end there. In fact, NAMASTEY LONDON also bears slight similarity to Sanjay Leela Bhansali�s classic love story HUM DIL DE CHUKE SANAM, with the husband allowing his wife to follow her heart, helping her unite with her lover.

Similarities apart, NAMASTEY LONDON stands proudly on its feet!

After attempting diverse themes such as AANKHEN and WAQT � THE RACE AGAINST TIME, Vipul Amrutlal Shah attempts a love story with panache. But let�s not mistake NAMASTEY LONDON to be one of those candyfloss entertainers that makers/writers have visited and re-visited over and over again. Vipul Amrutlal Shah and writer Suresh Nair blend romance, drama and humor in right proportions and the outcome is a delicacy that whets your appetite.

 






NAMASTEY LONDON is not one of those usual romantic films. The clash of cultures, the widening gap between parents and kids, also racism -- judging someone by the color of the skin -- NAMASTEY LONDON tackles it all. At the same time, it evokes patriotic feelings at vital points in the story.

The engagement ceremony -- when Akshay gives it back to the arrogant Englishman -- deserves brownie points and also an ovation. Besides, when the Indians/Pakistanis win the game of Rugby against the goras, your joy knows no bounds. The game involves you, you feel as if you were one among those cheering for the Indians/Pakistanis.

NAMASTEY LONDON abounds in humorous moments. The entire �Bharat Darshan� track, starting with Rishi Kapoor interviewing the prospective grooms, and also Rishi�s large Punjabi khandaan [especially Bebe], tickle your funny bone. In fact, the Bebe-Katrina interaction is truly funny! 

There�s an undercurrent of tension beneath the cool exterior. Katrina�s volte-face minutes before the intermission hits you like a ton of bricks. In the second hour, Akshay�s simple strategy to win back Katrina is very believable. The reason why this character works is because the guy never indulges in any herogiri or adopts any illogical steps to woo her back. He loves her unconditionally and that�s his �weapon� to crush the gora rival, who happens to be Katrina�s lover.

Vipul Amrutlal Shah impressed you in his directorial debut AANKHEN. With WAQT, he climbed the ladder. Now, with NAMASTEY LONDON, it�s a leap. In fact, NAMASTEY LONDON is his most accomplished work so far. Love stories are done to death in Bollywood and no matter how different you claim your film is, comparisons with the successful films of yore are inevitable. Despite that, NAMASTEY LONDON retains its individuality!

To sum up, NAMASTEY LONDON is addictive stuff. You watch it once, you wanna watch it again!

What happens when you transplant an English rose to a countryside in Punjab? Will it thrive in an alien environment? The rose will either die or rebel. That�s exactly what Jazz aka Jasmeet [Katrina Kaif] does when her father Manmohan [Rishi Kapoor] brings her to India and gets her married to Arjun [Akshay Kumar], a farmer.

But Jazz is equally determined to marry Charlie Brown [Clyde Stenden], her British boyfriend. Caught in this emotional tug of war between father and daughter is poor Arjun, who is helplessly and hopelessly in love with his beautiful but unyielding wife. 
NAMASTEY LONDON fits the description of a true-blue Hindi film to the T. Writer Suresh Nair�s screenplay is most convincing, the writing is foolproof, with no loose ends. Only thing, while the first hour moves at a lightening pace, the pace drops in the second half. In fact, minimal trimming in the post-interval portions would only make the narrative tighter. Another aspect that might curtail its prospects [at smaller centres mainly] is the generous usage of English language at vital points. Agreed, there are sub-titles in Hindi to decipher what�s going on, but it could prove to be an obstacle.

Himesh Reshammiya�s music is excellent. The tunes come instantly on your lips and what elevates the songs are its picturization. �Chakna Chakna� and �Dilruba� are compositions that merit a mention. Jonathan Bloom�s cinematography is exceptional. The D.O.P. does complete justice to the stunning locales of U.K. as also the lush green fields of Punjab. Dialogues [Ritesh Shah, Suresh Nair] are natural to the core.

If you felt Akshay Kumar was getting typecast in comic roles in film after film, you need to watch him in NAMASTEY LONDON. One of his finest performances so far, NAMASTEY LONDON also marks the coming of age of an actor who was often dubbed as an action hero or a funster. Akshay not only wins the heart of Katrina on screen, he�s sure to win the hearts of millions of moviegoers with a terrific portrayal in this film.

Katrina is a revelation. The actor surprised you with a confident performance in HUMKO DEEWANA KAR GAYE and now, in NAMASTEY LONDON, she comes up with a spirited performance yet again. She handle

Rishi Kapoor is in terrific form. Upen Patel is highly competent. The actor has a substantial role which he carries off skillfully. Ritesh Deshmukh [sp. app.] is wonderful.

Nina Wadia [Katrina�s mother] is first-rate. Clyde Stenden [Katrina�s fianc�] is excellent. Javed Sheikh is proficient.

On the whole, NAMASTEY LONDON is a superior product that blends romance, drama and humor beautifully. At the box-office, the film has all it takes to woo the moviegoers. However, the opening [evening shows on Friday specifically] would be affected due to the crucial India versus Sri Lanka cricket match [World Cup], but this truly well-made film should gather speed from Saturday onwards. In Overseas too, the film should fare exceedingly well.

Say namaste to NAMASTEY LONDON, a complete family entertainer. Strongly recommended!










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Dhobi Ghat is an acquired taste. Either the film will sink into your skin like a slow ache or it will be bewildering and downright boring. Kiran Rao’s first film is an atmospheric mood piece. There is no overt plot – four lives randomly connect in Mumbai. There are fleeting moments of happiness and pain and the eventual realisation that the journey never ends. The struggle to survive and to connect is eternal.

The characters are Shai, played by Monica Dogra, an NRI investment banker who is back in Mumbai for, she says, a change of pace. Arun, played by Aamir Khan, an angst-ridden artist who has a one-night stand with Shai but has little affection or time for her the next morning.Munna, played by Prateik, a dhobi with dreams of becoming an actor. And Yasmin, a young married Muslim girl, played by Kriti Malhotra, who makes video diaries that Arun discovers.

These people intersect in the disparate spaces of the city – posh art galleries and narrow gullies in slums; the dhobi ghat and high-rises. Munna and Shai make a connection but can something too fraught and tenuous to even be called a friendship, transcend class difference? The fifth character in the film is Mumbai, a teeming city of migrants that remains unknowable, alienating, harshly beautiful and brutally indifferent. Kiran Rao and cinematographer Tushar Kanti Ray construct a rich and intimate portrait of the city. In places, the locations almost overshadow the characters – there is a terrific shot of Arun walking down the bustling Mohammed Ali Road during Ramzan.

In another scene, Munna covers his shanty from the torrential rain as local trains whiz by.
Rao also observes human behavior keenly – so when Shai first asks Munna to sit down in her up-market apartment, he hesitantly feels the sofa before placing himself down. And when Shai’s disapproving maid serves them tea, she brings one nice cup and one glass that befits Munna’s status. Prateik is achingly lovely as Munna but the star of the film is the luminous Kriti Malhotra who revealingly loses the hope and shine in her eyes.

This saga of love and longing is punctuated by a haunting background score created by Oscar-winning composer Gustavo Santaolalla. What doesn’t work as well is the pacing. Rao’s build-up of characters is painfully slow with the first 30 minutes or so being the most problematic. Some of the early scenes are clumsy and the disjointed narrative just isn’t engaging enough. I was also confused by the suggestion that Munna is having a relationship with an older woman customer – so does the dhobi routinely offer more than just clean clothes? Intriguingly, Aamir Khan, otherwise such a fine actor, strikes a false note.

With constantly furrowed brows, he seems to be performing at a different pitch from everyone else. You can almost feel the weight of being in an art house film on his shoulders - the early scenes with him and Monica are particularly awkward. Still, if you are willing to have patience, Dhobi Ghat comes together nicely. It has a poetry and melancholy that stays with you. I recommend that you give it a shot.




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In today’s life most of the music lovers love to watch video rather than just to listen. To download latest video’s search engine is providing very good services to download the latest video in better quality. Here some software  to download video’s just install these to have better results.
1.ClipNabber allows you to download videos from YouTube, Metacafe, etc by simply copying and pasting the URL. You’ll then get a link whereby you can download the file to your computer, iPod, iPhone, or any other media player. You’ll need to have an FLV player for the YouTube videos. Quick and very easy to use!
2. Zamzar is a free online file conversion web application that can not only convert videos off the Internet to AVI, MPEG, 3GP, MP4, MOV, etc, but also converts between audio, image, and document formats. Paste the URL into Step 1 and then convert the file to your favorite format.
3. VideoDownloader is a FireFox extension, but also allows you to paste in any URL from many sites such as Blip.TV, iFilm, and even social networking sites like MySpace. You can also download a free FLV player from their site to play the videos.
4.Vixy.net is another site that not only downloads online videos, but will also convert them AVI, MOV, MP4, 3GP, or MP3 (if you want to extract the audio from the file). Using this site, you don’t have to worry about downloading a FLV player as you can convert it to Windows format.
5. KeepVid also supports just about any video sharing site out there and the only difference about this site is that it also has a Top Videos section, so you can quickly download the most watched videos around the web.
6. Media Converter is similar to ZamZar and vixy.net, but requires you to create an account and log in. Also, it seems like it only supports downloading and converting videos from YouTube. You can also download their video download program, but it only supports 5 sites.
7.Hey! Watch is an online video encoding web service that encodes video into different formats including HD very quickly. The graphical interface is very nice and there are lots of features and options, such as the ability to transfer any video from the web directly to an FTP server or to online storage.
8. YoutubeX, as the name suggests, allows you to download videos from YouTube. Obviously, it only supports YouTube, but it has a couple of other features, such as the ability to play your video on the site and find popular videos quickly.
9.VideoRonk searches across multiple video-sharing sites such as Google Video, YouTube, MetaCafe and DailyMotion to find the most popular videos on each of them. You can either watch them on VideoRonk or download them to your computer in FLV format.
10.VidDownloader supports about 10 sites including the major ones and can download the videos in DivX AVI format. It’s very easy to use and can also extract only the audio from a video by choosing “Just Audio” on the download page. You don’t have to worry about having an FLV player since it converts the files to Windows format.
According to their web site, they support more than 98 video sites including MySpace, CollegeHumor, iFilm, etc. You’ll have to rename the files you download from YouTube with the .FLV extension at the end.  This site is a foreign site, but is easy to use and supports most of the major sites. You can also download a free FLV player off their site to play videos from YouTube.
11. DownThisVideo has a nice tag cloud at the top that you can click on to find videos quickly. From what I could tell, this site is mostly used by Japanese because the popular videos are mostly Anime, etc. However, you can still use it to download any YouTube video.

Source: internet bollywood movie {www.radiomaska.com}

online bollywood movie

Vidya Balan’s Top Transparent Bikini on Maxim Magazine

Posted on 07 March 2011

Sex is now very common in bollywood if you want to become a top all most actress to show you part of body. Now this time another bollywood beautiful actress vidya balan wearing a black bikini top fully transparent and inside which is clearly visible.
But this not real photo of Vidya Balan as early Sonakshi Sinha, now its Vidya Balan morphed pictures of Vidya Balan in a bikini for a magazine cover has gone viral online. But is the image fake or did Vidya actually pose in the two-piece for the cover

Source: internet bollywood movie {www.radiomaska.com}

satrangi parachute internet movie online

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Golmaal 3 internet bollywood movie

 Golmaal 3

Make way for the First Ever Bollywood Trilogy and that too in the enjoyable genre of comedy brought to you by the lucky director Rohit Shetty. Lucky, because it’s really not an easy task to make three similar type of successful movies one after another every year. You really need to be both extremely talented as well as lucky to hit the Jackpot three times in a row in this unpredictable world of cinema. But Rohit does it again with his GOLMAAL 3 and he would now be remembered more as the First Bollywood director to deliver a HIT COMEDY TRILOGY in our Hindi Film Industry (looking at its initial box office response).
Having said that, I would also like to mention here a big positive yet strange point about Rohit’s third movie in the series. In clear words, GOLMAAL 3 has nothing new in terms of storyline, script & content. It has no surprises to offer as you are already familiar with every character and his famous mannerisms on screen and it also cannot be called as a cinematic masterpiece from any angle. The film is completely repetitive from its first frame to the last with all the similar seen before kind of movements on the screen.
For instance it starts off with the same Carnival kind of song wherein all the lead actors perform their individual stunts and make grand entries. There is a riff between two opposite groups of friends having one strong man amongst them. A comic gangster walks in with his own funny associates. There is a police inspector who is made fun off at regular intervals. A good fight sequence comes in between wherein the hero makes his action entry at the right times. A girl character is there to add the glamour quotient and she keeps interacting with all the boys in her own vivacious style. And then comes the climax, getting everyone together on the screen fighting hilariously with each other.
So there is nothing fresh or new as far as the treatment of the movie is concerned. Even the colours on the walls of the sets are also the same reminding you of its first two parts of the trilogy. But despite of all this repetitiveness, very surprisingly Rohit Shetty and his GOLMAAL 3 still successfully manages to make you laugh consistently and provides you enough entertainment to have a good time in the theater. And for that the director and his entire team of writers really deserve their praises (especially the dialogue writer).
Following his own trademark style, Rohit once again adapts an old Hindi movie plot which originally was itself inspired from a foreign flick. This time Rohit takes his inspiration from “Khatta Meetha” (1978) and “Hamare Tumhare” (1979) based on the story of two old people getting married having their own young kids who are not ready to adjust with each other in their newly found relationships. Interestingly these two films were also based on two English films released a decade before and they were “Yours, Mine, Ours” (1968) and “With Six You Get Eggroll” (1968). Mithun Da and Ratna Pathak Shah play the two elderly lovers here and Ajay, Shreyas, Arshad, Tushar and Kunal are their grown up kids. Kareena is the neighborhood girl who actually is responsible for the pleasant re-union of the couple.
In short, it is based on a story which you already know and may recall very clearly while watching the film. And that may not encourage you to go for it in the first place. But if you really want to have some fun without thinking logically for a few hours then I would readily like to recommend watching GOLMAAL 3 for four specific reasons alone :
1.  If you are a true fan of Mithun Da, then it’s a must watch for you as it showcases an entirely different persona of the veteran where he is really enjoying himself playing it loud and comic. So it’s seriously a not to be missed venture for all Mithun Da fans for sure.
2. The movie has Johny Lever returning to his great lost form after “All The Best”. And he is simply superb in the role of a Gangster who suffers memory loss occurring every few minutes in his scenes.
3. The most famous product of GOLMAAL series remains the silent character of Tushar Kapoor having his own hilarious language of actions and gibberish words. And the actor gives the most sincere performance in this third part of the series which really deserves a watch.
4. And lastly there is one particular sequence in the film, wherein all the boys are teasing each other, with only their suggestive actions, without using any kind of verbal exchange between them. The scene which is brilliantly directed by Rohit and superbly enacted by all, stays there for a good 4-5 minutes and can be called as one of the major highlights of the film.
With every character getting his own justified screen presence, the script-writer and the director handles the big star-cast quite intelligently. Lead by Mithun Da and Tushar Kapoor from the front, GOLMAAL 3 has everyone in its team performing at their best. Ajay looks cool & tough in his rugged look. Kareena fits in her role as a ‘T’ and plays it real well with all those supposed to be “Abusive Remarks”. Arshad, Shreyas and Kunal provide their confident support having a good time together. And the supporting cast equally contributes to the laughter with Vrajesh Hirjee, Sanjay Mishra, Mukesh Tiwari, Ashwini Kalsekar and Prem Chopra playing their roles perfectly.
On the downside, GOLMAAL 3 has a weak soundtrack as compared to its previous films and its Cinematography is almost the same as seen in its first two parts. The look and feel of the movie is nothing different from its earlier versions, which also makes it monotonous at times. Actually the film relies majorly on the comic timing of its talented star ensemble and on its hilarious one liner dialogues written skillfully.

So if you are a game for having a good time, within a seen before kind of settings then GOLMAAL 3 may work for you. Otherwise it is nothing path-breaking or exceptional which can set a new benchmark in cinema. Watch it only for Mithun Da, Tushar and Johny Lever and you will not have anything much to complain.




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tees maar khan internet bollywood movie

 Akshay Kumar, Katrina Kaif, Akshaye Khanna

Farah Khan knows exactly what she wants (rather what she can get) from her cast and employs them to that effect. With her trademark film-inside-film setting, when she wants someone to play the role of a boisterous, atrocious and artificial actor in her film, the natural choice is Akshaye Khanna.
Katrina is cast as the quintessential Bollywood actress who has to wear more makeup and less clothes and do practically nothing in the film. The biggest novel (rather navel) factor she brings to the film is her super-sexy midriff and her hip-hot gyrations. With Akshay Kumar coming into picture, Farah seems to leave behind her Manmohan Desai masala method and adapts her film to brother Sajid Khan's slapstick sensibilities.
Ten minutes into the film and Tees Maar Khan (Akshay Kumar) is introduced in the league of two other chindi chors, though he makes claims of being an international crime master. His latest assignment is to loot a locomotive loaded with valuables worth crores. Since the booty is in bulk, he would need help from many hands.
Khan hatches a plan to shoot a fictitious film in a village from where the train passes and use the oblivious villagers to rob the train. He lures superstar Aatish Kapoor (Akshaye Khanna), who aims for an Oscar Award, into his mock movie and casts his wannabe-actress girlfriend Anya (Katrina Kaif) as the leading lady.
Remade from Vittorio De Sica's 1966 film 'Caccia Alla Volpe' (After the Fox) starring Peter Sellers, the only major innovation that Tees Maar Khan shows is to shift tracks to train theft from the ship in the original. While the climactic train heist could have worked as a smart suspense element in the favour of the film, the entire fabricated film formula is revealed at the very onset, leaving nothing to your imagination.
Also it appears too far-fetched that a filmstar like Aatish Kapoor won't comprehend that this one-take shoot, filmed by a single handheld camera is a hoax for heist. Unfortunately the audiences are not as gullible as the villagers in this film.

The Academy Awards and its Bollywood aspirants (from Aamir Khan to Anil Kapoor) seem to be the butt of most jokes here. The film emphasizes and also employs the widespread sentiment of how a poverty-stricken India has become a perfect recipe for Oscar wannabes.




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online internet bollywood movie

Thirteen-year-old Shambhu (Taher Sutterwala) is the archetypal adolescent who wants to get a hold on life, but ends up all awkward, antsy and alienated, both from the bizarre adult world and the bullying peer world. When things get too rough, he runs away from home, finds a new friend in a precocious street kid, Vitthal (Chinmay Kambli) and decides to run further with him in order to find a perfect world. Is this the great escape or is it a coming-of-age for the confused teen?

Movie Review: When the credits begin to roll, you see director Sagar Ballary saying thank you to Gulzar for Kitaab and Francois Truffaut for 400 Blows. Naturally then, the paramount question is: Does live up to its inspiration?

The film begins on the right note as it traces the dysfunctional world of oddball Shambhu who just can't fit in...Neither in school, where he becomes the butt of jokes due to his ungainly body image (he's overweight, untidy, refuses to wear shoes, sports shorts instead of trousers) nor at home where he just can't seem to connect with his over-effusive step daddy (Atul Kulkarni) and pregnant mom (Sarika). In a telling scene which sums up his isolation, the self-immersed Shambhu asks `Tara, who?' when his dad tells him to pipe down the music because his infant sis,  is Tara sleeping.

The film is replete with such interesting little details which make it a promising viewing. But suddenly, the film changes track and Shambhu's misadventures at home and school are replaced by his encounters with a bunch of slum kids in Mumbai's underworld. Whatever happened to the cracker-like and thoroughly explosive situations where the teenager was fumbling with a teen crush and trying his best to fit in with the snooty coterie in class. Shambhu's extended encounters with Vitthal, the bustee kid derail the plot and leave you fidgety and bored.

Sad, because Kaccha Limboo could actually have been a great comeback from the director who gave contemporary cinema one of its smartest comedies: Bheja Fry. Nevertheless, watch out for the performances by the kids and by Sarika and Atul Kulkarni as the stressed-out parents. Why can't we have more of Sarika, please

 

 

 

 

 

 

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