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Moksha movie stills, review,trailer, wallpaper
Meera Jasmine's heroine-oriented Moksha's shooting is going on at a brisk pace. It is known that the cherubic actress was roped in for a horror thriller by director Srikanth Vemulapalli, who debuted with Black & White. Produced by P Amarnath Reddy under the banner of Amarnathan Movies, the film sees Meera's most important film till date.
Rjeev Mohan is playing a significant role in the film. According to the director, Jasmine's performance will be the main attraction of the film. Also, the subject dealt by Moksha has not been touched by any other Indian film in the past, in the opinion of Mr. Vemulapalli. "Evey scene will be exciting," says Srikanth.
The film's first schedule began on November 11 and concluded on December 6. Another schedule in the month of January in Chennai will take care of the remaining 30% of the shoot.
Nasser, Rahul Dev, Rajya Lakshmi and others are also part of the cast. Srikanth has also written the story and screenplay.
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Singham hindi movie stills,reviews, trailer, videos, cast& crew
Starring: Ajay Devgn, Kajal Aggarwal, Prakash Raj
Direction: Rohit Shetty
Music: Ajay-Atul
Production: Reliance Entertainment
Movie Detailes :
Movie Name : Singam
Director: Rohit Shetty
Cast : Ajay Devgan,Kajal Aggarwal
Release Date: 22 Jul 2011
Genre: Action – Drama
Language: Hindi
The Golmaal buds are back to do what they do best, loads of dishoom dishoom, cars flying all over and Ajay Devgn projected as the super hero full filmi style in the Reliance Entertainment produced ‘Singham’. Apart from the fact that Ajay and Rohit started their filmi career together in an action film Phool aur Khaante as Actor and assistant director respectively, their first movie together as actor – director was also an action film Zameen but then Golmaal happened and the rest as they say is history. Add in the above average ‘All the Best’ too then the duo’s comedy film repertoire looks as envious as David Dhawan and Govinda’s partnership. But this is not a comedy film but the craze of remaking southern masala blockbusters in Hindi has caught the duo’s attention too and once again its time for Ajay to flex some muscles. Why not? after the stupendous Gajini, Wanted, Ready and rich southern flavoured ‘Dabaang’ who would say no to the Tamil blockbuster ‘Singam’?
The story is about a small town honest cop Bhajirao Singham(Ajay Devgn) pulled into the big city by a king pin, Jayakant Shikre(Prakash Raj) to show him his political power. With corruption strangulating the existence of Singham and Jayakant Shikre slowly getting more powerful than ever, Singham has to not just use his brawn but brains too to defeat the enemy. But can he do it?
The original Singham did get much recommendation from critics but became a blockbuster thanks mainly to the producers heavy marketing, Surya’s star status and some very nicely thought out scenes. The remake takes all the positives from the original and adds few maratha flavour and Singham is all set to roar heavily in bollywood too. But that doesn’t mean Singham is all green, it does get monotonous and slow by the mid second half and Rohit also tries a different climax from the original which heavily depends on Prakash Raj’s performance, he does succeed but somehow the end just looks like a rushed up job. Not entirely convincing. But that was one of the negative pointers of the original too. There are few scenes where southern flavor just gets too heavy especially the fight sequences but single screen audiences are just going to embrace it with hoots and cheers.
Ajay Devgn has enacted the role with sincerity but looks too tired in many sequences and the power packed scene where the hero challenges the villain in his own lair which was one of the most talked about scene in the original, looks just plain mediocre thanks to the dull recital of the fiery dialogue by Ajay and the support staff’s clueless acting. Kajal looks fresh as ever and looks completely at ease with mouthing Hindi language but has little to do acting wise. Prakash Raj seems to have finally captured bollywood too with his menacing performance. The master looks convincing as a Maharashtrian and carries the film effortlessly. Sonali Kulkarni is decent but her character could have been a little less confusing. Sachin Khedekar’s character does make you smile but is under utilized. The rest of the talents have done a decent job but nothing extraordinary to brag about.
Cinematography by Dudley is decent but the fake night scenes with artificial flares to light up the character’s face is a bad move. Editing by Steven H Bernard, is slick but could have been more brutal in the end. Art Direction by Narendra Rahurikar, is decent but far from realistic, the police lock up with two big windows is a big blunder. Music by Ajay and Atul is decent but none of the songs actually sticks on to you expect ‘Maula mere’. Choreography by Ganesh Achariya is not upto the mark and the step he has given Ajay in the first song is just too mediocre to be true. Amar Mohile’s background score enriches the visual drama. The action scenes designed by Rohit Shetty and executed by Jai Singh is a treat for action lovers. The ‘Red’ inspired action scene where Ajay walks out from the swirling car with his gun out brings the whole theatre down.
Overall its a paisa vasool entertainer which has action aplenty and is a sure-shot success in the single screens but with Zindagi and Delhi still bringing in the crowd it would be quite interesting to see how Multiplex audience welcomes this Singham.
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Kanchana movie stills, review, trailer, cast& crew
Starring: Raghava Lawrence, Sarath Kumar, Lakshmi Rai
Direction: Raghava Lawrence
Music: Thaman
Production: N Radha
A sequel, not really! It is just the return of the character from the successful Muni. The original had managed to pack entertainment; spooks, fun and dance into an almost delectable capsule and the sequel looks at doing the same thing. So, is it more of the former or something that surpasses the precedent set by the original?
Kanchana is about a spirit and its thirst for vengeance; well, we all knew that, didn’t we. No surprises there. Raghava Lawrence reprises the role of the constantly terrified young man from Muni; we know what to expect here too. The novelty of seeing a hero as a coward wears off very soon because we have already seen it in Muni. But, Kanchana ends its similarities with Muni with these minimal points. All other aspects of the film are original. The plots of most scary films carry a flashback which details the reasons for the spirit lingering on in the world of humans even after death. It is this flashback which earns sympathy or wrath of the audience for the spirit and lends credence to the entire story of vengeance. Full credit to the makers of Kanchana for putting in substance and message into the flashback which takes the movie a notch above hotchpotch horror films. Much else about the plot cannot be revealed here because, being a suspenseful horror flick, they might really be spoilers for those who want to catch up with the film in theaters.
As is accepted in horror flicks; logical correctness of the central plot or credibility of the ghost/spirit’s acts through others are matters that should not be discussed, only experienced. And, Kanchana also demands that level of submission and acceptance from its viewers. First rule for a horror flick to strike it off with an audience is its ability to give the spooks; else it all ends up as a high and dry ride. Kanchana aces this rule; it does manage to give the chills and thrills wherever it intends to. The ‘experimental’ scene where Kovai Sarala and Devadarshini try to confirm the presence of a spirit in their midst is one of those instances. The good thing about the entire affair is that the horror or spook quotient is always maintained in good taste! What does that mean? The film does not contain any manipulative or artificial instances where deliberately positioned cameras, sudden shrieks and elaborate shots from behind a character create a sense of impending disaster. The director is honest with his audience. Yes, there are a few instances of old school horror, with graphics and weird forms appearing out of the blue, but it is strictly limited. But, it is not all about horror and spooks. There is a generous sprinkling of humor with Raghava Lawrence handling the portions. Lakshmi Rai seems to be around only for the glamour. The film looks sunny and cheerful in these portions, especially when he puts on his dancing shoes.
Horror films demand very convincing portrayals from the entire cast; everyone has to wear completely terrified and bewildered expressions for the excitement to get to the viewer. In that respect everyone has done a neat job. It is not too difficult for Lawrence, one would think, after having gone through the routine in Muni. But, the climax portions where he is possessed might have been physically demanding. Kovai Sarala repeats her mother act too and pulls it off with her abundant experience. Devadarshini too is more than just convincing with her portrayal. The ladies along with Lakshmi Rai have had to literally hide behind Raghava Lawrence throughout the movie which, while still being a result of spooky situations, does evoke a smile. Sriman does not have much to do and one cannot help but think that Lakshmi Rai is worth more than the part that she has got here, but that is what the script demands.
The surprise packet however is Sarath Kumar. Who would have thought that an actor known for his physique and action would pass off so well in the role of a transgender? What would have made him take up this role? Well, the only guess is that it is one character that does not conform to the long standing screen stereotype of transgenders; people who clap their hands in funny manners and ask for money from every second person. The film has shown them as people with immense self-respect and ideals while also pointing out that being a transgender is not a matter of choice but a congenital condition which cannot be helped. The director deserves a big round of applause for introducing this perspective.
The only let downs in the entire outing are the music by Thaman. While the songs pass muster, it is the BGM which fails to add spunk to the spooky scenes; more was expected from this promising young composer. The graphics too could have been better, but we understand the budget limitations.
Overall, Kanchana is a ride of spooks and chills, interspersed with moments of fun and dance. The good thing is that the spooks and chills have not been provided just for the heck of it; they look convincing and have an effect on the viewer. It may not be a classy piece of cinema, but it does manage to engage a viewer who is willing to give himself in to the central concept of the supernatural.
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