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Sivaprakash

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Sivaprakash

State Rowdy is the remake of a successful Tamil film Yediri directed by KS Ravikumar with Madhavan and Sadaa playing the lead. Sivaji, who had so far played in soft films with family subjects, in a bid to gain mass image ventured into the project. Debutant director SS Vikram Gandhi tried his best to mould the film on the screen in an entertaining way. Though the film is a little distant to justify the title, he was able to make the film a laughing riot.

Rambabu (Sivaji) is brought up by his brother-in-law (Benarjee), who is a jailer. Rambabu's niece falls in love with a boy, who needs Rs 25,000 to pay deposit
to get a job. Rambabu's friend autostar (Venumadhav), in a bid to help him
arranges the money from one Bongarala Subrahmanya Sarma (Chandramohan). In fact, some students, who let out a portion in Sarma's house neither pay rent nor vacate it. So Sarma seeks the help of autostar to get them vacated and the latter tells Rambabu to pretend like a famous rowdy Bullet Babu. As Rambabu does not agree to marry his niece, his brother-in-law necks him out. Hence, instead of vacating the students, Rambabu also settles in the room along with them. Sarma has a daughter called Vimala (Madhusalini) and Rambabu tries to lure her in the name of love. In a bid to help one of the students (Santosh Pawan) to marry his love, Rambabu goes to a marriage function hall and kidnaps Priya (Mallika Kapoor). A few days before, Priya loses her heart at first site to Rambabu. However, Priya's father Veerabhadra Reddy (Vijayaranga Raju) wants to marry her to Punjagutta CI (Subbaraju) as the latter does a favour to him and saves him from a murder case. But on learning that the CI was a bad guy and killed his first wife, Priya tries to convince her father but fails. So, she attempts suicide. By the time, she consumed poison, Rambabu kidnaps her. On coming to know that she was not the bride, Rambabu admits Priya to hospital. Priya, who resues her death from poison, again attempts another suicide, only to be saved by Rambabu. Later, Rambabu takes her to Sarma's house. After a few turn of events, Priya reveals her story and also tells Rambabu that she loved him. Will Rambabu able to win her love? Will the CI catch Rambabu, who kidnapped his would-be wife Priya? Will Veerabhadra Reddy able to get back his daughter? Answers to all these questions form part of the climax.

PLUS: The major plus point in the film is comedy. All the artists in the film, including the hero, villain, hero's sidekick have given a very good comedy through their performance. Though the film is intended to give Sivaji a mass hero image, it is proved good in the other way and he earns a good name as a hero with good comedy timing. Venumadhav's performance is hilarious. He has proved once again that he is an expert in delivering comedy. Mallika Kapoor and Madhusalini fill the glamour slot though there is not much scope for performance. Other artists Chandramohan, Subbaraju, Vijayarangaraju have done justice to their respective roles.

MINUS: To certain extent, the music of the film has turned a minus point in the film. Most of the tunes look old stylish and remind the audiences some old tune from some old film (already heard tunes). It seems the director has tried to copy the original Tamil film for most of the time. Picturization of songs is also not that impressive except a couple of songs. The cinematographer's attempt to experiment some shots is not impressive. Dialogues by Ramesh-Gopi are good in part. Though there is a good comedy in the film, it appears the director failed to extract the performance completely from the artists.

REMARKS: As the film is titled State Rowdy, the hero should have a good personality, though not a six-pack body at least three-pack body. The character has become a little heavy for Sivaji, though he has struggled a lot to meet the mark. There should be more comical action in fights instead of serious action scenes, giving the dosage of comedy in the movie. The director should have concentrated more on boosting the image of the hero in a mass style.

Cast: Sivaji, Mallika Kapoor, Madhu Shalini, Chandramohan, Subbaraju, Venumadhav, Vijayaranga Raju, Chitram Sreenu, Ramireddy, Krishna Bhagawan, Jeeva, Kondavalasa Lakshmana Rao, Lakshmipati, Duvvasi Mohan, Santosh Pawan, Hema, Master Bharat.

Credits: Story – Kamalesh Kumar, Dialogues – Ramesh-Gopi, Lyrics – Bhaskarabhatla, Music – MM Srilekha, Camera – B Vasu, Producers – Kattekola Srinivas and JV Umamaheswara Rao, Screenplay and direction – SS Vikaram Gandhi.

Banner: Galaxy Multimedia

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Sivaprakash

Story

Siddardha (Vikram) takes birth in a crematorium and her mother dies immediately after his birth. Siddardha is raised by the crematorium's undertaker. After the death of the undertaker, Siddardha becomes orphan. He does not know anybody in the village and he was never been out of crematorium earlier. He visits village in search of food. The village people detest his presence and try to stone him away from the village. Kamala (Sangeeta) - a ganja seller by trade - rescues him and requests a mafia leader Rayudu (Ramaraju) to recruit Siddardha. Siddardha works for Rayudu in his ganja farms. One fine day, police nab Siddardha on the charges of peddling ganja from jungles to village.

Satya (Surya) is a village smart trickster who is put in jail for his misdeeds. Siddardha who never socialized with people and never observed the customs of the village had a tough time coping up with the challenges thrown by the new environment. Siddardha and Satya become close to each other in the jail. Satya gets released and then arranges a bail for Siddardha. Satya, Siddardha and Kamala start living together along with their friends.

Rayudu asks Siddardha to cremate a dead body and Siddardha does it. The interrogation by police leads the suspicion towards Siddardha. Satya then reveals the details of ganja trade of Rayudu. Rayudu kills Satya in an act of retaliation. The rest of the film is all about how Siddardha takes revenge on Rayudu.

Artists Performance

Vikram: Vikram steals the show with his terrific histrionics. His animalistic antics are a treat to watch. His make-up is ghastly and it suited the characterization. There are no dialogues for him this film. And he sustained the interest among the viewers using his histrionics alone (no support from dialogues). His body language is animal-like.

Surya: Surya is good as the street-smart guy who has a remarkable humanity in him. His character is shown as a trickster in the beginning and his humanity is projected as the second half goes by. Surya is equally romantic in love/teasing episodes with Laila.

Laila: Laila is terrific in this film as a chirpy and bubbly girl. Her frolics and portrayal of character is very impressive. She is the only glamour aspect of the film. And she carried the entertainment value of this film solely on her shoulders with a great charm. Her character has innocence and mischief blended in equal proportions. Savita Reddy's dubbing is added attraction.

Others: Sangeeta did a deglamorized role in this film. She is quite a bit of revelation. She did the role of a drug peddler with a soft corner towards Siddardha. Ramaraju is appropriate for the role of villain. Simran did a special appearance by acting as her real self, which is not impressive enough.

Technical Departments:

Story: The basic story of the film is a commercial one. It is about protagonist taking revenge on a bad guy who killed his friend.

Screenplay - direction: The best part of Bala is the terrific characterization and appropriate casting. They way he introduced characters and established them is excellent. Direction of the film is compact. Screenplay is good most of the times. Pace of narration is slow. Director Bala has an artistic orientation in visualizing shots.

Music: Background score and re-recording by maestro Ilaya Raja is terrific. The opening song 'Okate Jananam Okate Maranam' is excellent. The second song (sung by RP Patnaik) is very melodious and acts as a breather in between heavy sequences.

Other departments: Dialogues by Raja Sekhara Reddy are good. Cinematography by Balasubramanyam is excellent. Action sequences by Stun Siva are true to reality, believable and realistic. The fights are very effective as well. It is quite amusing to see that no character (police, goons and protagonist) ever use any knife and pistol in this film for fight sequences. Artwork by A Chella is fine. Editing by Muthyala Nani should have been more compact.

Analysis: Actor Vikram acted in a couple of insignificant direct Telugu films before establishing himself as superstar in Tamil. One he became a superstar, our Telugu film producers never gave us a chance to watch Vikram in a blockbuster film, as they remade all his blockbusters like Sethu (Seshu - Raja Sekhar), Dhil (Sreeram - Uday Kiran), Gemeni (Gemini - Venkatesh), Dhool (Veedu - Ravi Teja), Saami (Lakshmi Narasimha - Bala Krishna). Here is a chance for Telugu film lovers to watch the Telugu dubbed version of Vikram's Tamil blockbuster. Laila is another performer in this film who really rekindled the entertainment aspect of the film. First half of the film is compact. Second half is very slow and boring at times. The climax of the film is very effective. The Simran's special song would have been avoided in Telugu version as it's very ineffective. This film is a must watch for the art movie lovers. The commercial film lovers might have little uneasiness watching this film. I would not mind watching 'Siv Putrudu' for histrionics of Vikram and Laila and realistic direction of Bala.

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Sivaprakash

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Sivaprakash

Story

Shankar Pehalvan, a.k.a ANDHRAWALA (NTR), is the leader of labor from Andhra in Mumbai. Shankar fights with the mafia don Bade Mia (Sayaji Shinde) and in the process Andhrawala also becomes a don. In the ensuing mafia feud, Bade Mia kills Shankar and his wife (Sanghavi). Basha (Benarjee) - a trusted lieutenant of Sankar - takes away the kid to rescue him from Bade Mia. When mafia goons follow him, Basha leaves the kid on a footpath besides a beggar and leaves.

The kid, Munna (NTR), is raised in a slum area. While Basha is in search of Munna to safeguard him, Bade Mia is in search of him to avenge the death of his son in the hands of Shankar. Thanks to the similarities in appearance of father and son, Basha and Bade Mia recognize that Munna is son of Sankar. Munna gets to know his identity and the story of his father and his death from Basha. In the meanwhile, Bade Mia men descend to Hyderabad to kill Munna. Munna decides to take the battle to Bade Mia and goes to Mumbai to confront with Bade Mia face to face. The rest of the story is all about how Munna succeeds in his personal vendetta.

Artists Performance

NTR: NTR performed well in the role of Munna as a committed youngster with loads of mass charecterization. His dance movements are as fluid as it can get and he attempted doing variety steps in 'Naire' song with good success. His comedy in first half is firstrate. However, the get up for the role of 'Andhrawala', that appears for very small time on screen, resembles that of Raja Sekhar's in Maa Annayya.

Rakshita: She played the role of Miss India and of a girl who is desperately seeking the attention and love of hero. Though she is good as a mass heroine, her characterization crossed the limits of sensibilities with a few lewd gestures. Words uttered by her like 'Pisikesta' and 'Kinda paina choodavayya' were at best avoidable. The scene is which she lifts her dress to forcibly seduce Munna also crosses the limits. The dubbing artist who usually dubs for Ramya Krishna's voice has dubbed for Rakhista voice in this film.

Others: For Sayaji Shinde, it's a perfect role of Hindi speaking Mumbai don. Rahul Dev played the role of bother of heroine. Benarjee is terrific. Jeeva is appropriate. Brahmanandam is pretty hilarious in the character of home minister. The comedy scene between Brahmanandam and Pavala Syamala is the best comedy scene in this film. Rama Prabha and Venu Madhav are OK. Rajiv Kanakala got a very unimportant role and is not utilized. Nassar, GV and Ranganath are fine

Technical Departments:

Story: Story of the film is old fashioned one. There is one shortcoming in the basic storyline. Nasser is seen as the guardian of crores of property earned by Andhrawala. Andhrawala started his career as daily labor and gradually becomes a don. If Andhrawala earns so much money, why did he not distribute to his colleagues.

Screenplay - direction: Screenplay of the film lacks the proper format. Its very slow in first half and its very rapid in second half. Puri Jagan targeted hardcore masses in this film and moulded characterization of the protagonist accordingly. You can find heroine dominating love proceedings in this film in contrast to Jagan's latest films (Idiot, ANOTA, Shivamani) where hero dominates heroine. Though the direction is quite satisfactory in the first half, the things go haywire in the second half. The last 30 minutes of the film witnesses loads of gun fire and killing spree where many persons are killed at a rapid pace.

Dialogues: Dialogues by Puri Jagan are OK. Half the dialogues written for NTR have the flavor of careless one-liners that are usually seen in Puri Jagan's hero charecters (especially Ravi Teja). However, he could have avoided writing explicit dialogues to Rakshita's character. All the dialogues for Mumbai episode are written in Hindi. And for a normal mass viewer, its quite difficult to understand Hindi dialogues. Telugu sub titles would have been appropriate.

Other departments: Music by Chakri is average. Choreography of first and last song ('Naire Naire' and 'Gichi Gichi) is excellent. Other songs are neat. Re-recording is satisfactory. Shyam K Naidu's photography is good. Editing by Marthand K Venkatesh is crisp. Stunts by Vijay match his earlier good work. Giri made this film with ample budget.

Analysis: First half of the film is OK. Interval bang is interesting. The second half is dull. The flashback episode - that is supposed to justify the title of film - could not evoke the right emotion. This film is released with lots of hype and hoopla in 450 odd theaters. We have to wait and see if NTR's charisma could pull the film's run to a decent number of days or not.

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Sivaprakash

Thotti Gang' is EVV Satyanarayana's latest venture which is a complete entertainer. Though the story is a routine love story, the movie characters and its full length comedy makes this film out of routine.

Movie is about three friends Achibabu (Allari Naresh), Sattibabu (Prabhudeva) and Chittibabu (Sunil). Everyone called them 'Thotti Gang'. They go to same school where Malliswari (Gazala) and Venkata Lakhsmi (Anitha) also go. Achibabu and Venkata Lakshmi are in deep love even in childhood. Which Malliswari does not like and bash the trio since childhood.
Due to their low educational standards, the three resort to dog-catching, singing songs during marriage receptions and cry like relatives if someone dies, to eke out their livelihood. Once, Malliswari and Achibabu meet in a marriage party, and become friends. They later fall in love with each other. However, they later realize that they were childhood friends. But Suribabu, who also loses his heart towards Malliswari, leaves no stone unturned to separate Malliswari and Achibabu. Finally Achibabu settles in Malliswari's house.
Suribabu and Sattibabu, who realize that their activities would come to a halt without Achibabu, decide to kidnap Malliswari. After kidnapping Mallisari, the duo keep her in their house. At that time, Venkatalakshmi meets the gang as a coincidence. In fact, Achibabu starts loving Malliswari, since Malliswari lies to him that Venkatalakshmi got married and had two kids. But Venkatalakshmi returns and he accepts to marry her.
Malliswari, some how gets released from Suribabu and Sattibabu and meets Achibabu. She warns him of dire consequences and make him accept to marry her. At the time of marriage, Venkatalakshmi, Suribabu and Sattibabu reach the venue and then a small funny scuffle takes place. Finally, Achibabu-Venkatalakshmi, Suribabu-Malliswari, Sattibabu and another girl tie knots.
Naresh improved his skills in acting and his performance is impressive. Sunil and Prabhudeva perfectly fit in their characters. Gazala and Anita did justice to their roles. Dual role of Brahmanandam as son and mother is good. Music by Devisri Prasad is impressive.

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Sivaprakash

NTR , Jayapradha

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Sivaprakash

Subash Chandrabose - Return of the bose

Making films with patriotism as an underlying thread is pretty much in trend. It is very difficult to speak against patriotism, nah? But point is patriotism in the theme worked in films like Indian (Hindustani) because it had a story to tell otherwise.

Sadly that is not the case in Subash Chandra Bose. It is a pointless potpourri of Subash Ghai's Karz (or Kamal Haasan' Yenakkul Oruvan in Tamil) that is made worse by silly mass accoutrements and tacky handling.

The story is pretty simple. Ashok (Venkatesh) and his gaggle of friends including the loud-mouthed Anitha (Genelia) are part of a TV outfit.

Once while covering a function of a local politician Venkataraman (Prakash Raj), Ashok is mentally disturbed as he sees an overlapping vision.

And if you are still interested, the image is that of Bandodu (Prakash Raj's original name). Ashok apparently is the re-incarnation of Subash Chandra Bose (Venkatesh) who used to live in Chintapalli village.

Bose, obviously an admirer of Netaji, is however a non-violinist. He is up against Tow Britisherss (Tom Alter and Gulshan Grover). He also has a love interest in a local lass (Shriya).

As it happens, Bose and others are killed for standing up with courage against the Britishers. Bose's fall is accentuated by the machinations of Bandodu who plays a double game.

At the time of his death Bose swears that one day a force will come on this earth to destroy him (Bandodu).

And the force is Ashok and he does precisely what he is ordained to --- take out Venkatraman (who is Bandodu).

It is a tepid story that is made worse by poor handling by the director. You can't blame the cast. Even if they were to be in the finest form of their career, the film cannot be saved.

Venkatesh gives an honest performance. But that is not enough. The two heroines look good and dance around. Prakash Raj hams, but Alter and Grover pass muster.

The music of Mani Sharma is one of the redeeming features of the film. Raghavendra Rao, one supposes, has directed out of his worst nightmare. Subash Chandra Bose!

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Sivaprakash

Take any romantic relationship where one in the couple is more involved than the other. Then, exaggerate it - sometimes a bit, sometimes quite a bit, almost always slapsticky - and you have Ugly aur Pagli. Now this movie too could be a copy of/inspired by some movie or the other. But, how does it really matter - because it’s a story about you and me anyway. So then, is it inspired by life in general? Maybe. Except that it has to be fit in 2 hours and in between 4 songs! And however realistically you present an idea, if you are going to rush in a story in the last 20 minutes it’s not going to be digestible.

What is love? How does a crush become more than just a crush? When does a very good friendship turn into romantic love? If you can do ‘anything’ to keep the other person happy, would that be defined as love? But then, wouldn’t you do ‘anything’ to keep your closest friends happy? These are not the questions that Ugly aur Pagli makes you think about, for these are not new questions, by any means. But these are the questions that it tries to play out.

They are played out by simpleton Kabir (Ranveer Shorey) who does the weirdest of things just in the hope that Kuhu (Malika Sherawat) will smile genuinely. He wants to reach out to the darkness that Kuhu hides almost successfully with her eccentric attitude towards him. She in turn, leaves no stone unturned in having him embarrass himself.

All of this is wonderfully carried off on screen by both Ranveer and Mallika. Yep! Mallika too! Of course, she can’t cry or take the load of an emotional scene yet, but she’s believable when in prankster mode. And she did manage to pull off the scenes in which she’s snoring and/or drunk. But, then again, the complexities of her character were hardly shown to us, they were just told by way of a voiceover.

Ranveer is simply cast very well to play the good-for-nothing, unconditionally smitten guy-next-door. Though, I must say I was OD‘ed on his voiceover by the end of it. It’s just always there! True it’s his point of view, but it would have been great if his expressions did some of the talking too.

That’s it! There are no other characters!! I always wondered how Hindi cinema has very few ‘pure’ romance movies. There’s always some family, career, some exterior factor weighing in on the dynamics of the relationship. So, here you go. You have a movie just about the twosome. And it doesn’t turn out too well, mainly because what happens between them in the first 5 minutes is repeated for the next hour and a half, albeit with occasional witty dialogue. There’s one idiosyncratic, a little over-the-top episode after the other. Then, suddenly there’s a rush for an actual story and it shows in the writing almost as an afterthought.

The songs too seem like an afterthought. The songs are so out-of-tune with the rest of the movie that you can almost sense the director’s awkwardness in having them in there. It saddens me to see an actor like Ranveer resorting to coordinating hands, legs and the “look-in-the-moving camera” in the name of dance. And this, just because the audience wants its heroes to dance.

Oh, by the way, can anyone inform Mr. Anu Malik that changing his name to “Aanuu” in the credits is not ‘the’ change needed. It’s the music that needs to change!

There are two things that I enjoyed though. One is the action sequences of the scripts that Kuhu writes. Although editing of the action doesn’t let you actually get into the thick of things, just the stylization makes it worth watching. Especially because they are set around an otherwise low-budget movie. The other thing is the subtle tributes paid to movies of recent times, like Johnny Gaddar, Jaane tu…, Aamir, and I’m sure I must have missed a couple.

Sure, Ugly aur Pagli is amusing at times, establishes one character really well, and has a raw appeal to it. But, then it has not-so-funny slapstick at other times, has a confused other character, and ruins the raw feel in the last twenty minutes.

Parental Guidance:
Violence: A couple of funny action sequences.
Sexual content: The usual skin-show in a few songs picturized in pubs.
Concept: It tries to delve into relationships between adults, so I don’t think it will interest younger minds.
General Look and Feel: It uses dullish color palate, be it costumes or the city sky scape. Very high chances of kids getting bored.

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We had been warned, before going into the screening, that Donkey Punch wasn't “a critic's film”. This rang alarm bells, but it needn't have. After nearly a week of disappointments, some crushing, most tolerable, this neat British horror-thriller stood head and shoulders above almost all of the fare on offer in Park City this year. Screening in the Sundance Film Festival's Midnight section, Donkey's Punch is a notable achievement in all departments, handled superbly by its first-time director and largely unknown cast, with a tight, frighteningly plausible script that carries the film through some of its more far-fetched moments.

It begins on an understated note, with three northern girls on holiday in Marbella, Spain. It's meant to be a no-guys event, but after a trip to a local bar they meet three cute English lads with a boat in the marina. They look harmless enough, so they accept an invitation to party, and before long they're out to sea, high on a mix of Ecstasy and Russian meth. The drugs heat things up, and during a fairly explicit five-way orgy, one of the boys gets a little over-excited and tries out the “donkey punch”, a sex tip they had been talking about earlier. It's a bad move: the intoxicated revellers soon sober up when it becomes clear that the girl on the receiving end is dead, killed by a broken neck.

So what do they do next? It's a conundrum that the film has a lot of fun with. The amount of drugs consumed on the boat implicates everyone, but for the boys the situation could look to a jury like a clear case of gang rape and murder, making honesty a risky policy. Despite fierce protests from the girls, they drive far out to sea with the intent of dumping the body and calling the emergency services a good 45 minutes later to register the victim missing. This might all seem a little extreme, but by this time the characters are vividly drawn: the girls are impulsive, reckless and easily scared, while the boys are largely middle-class, not-too-bright and have a lot to lose.

It takes a fair while to get to this point, so it seems - at first - that Olly Blackburn's film is simply going to be a moral maze, as the remaining six argue the finer points of perverting the cause of justice. Not so. Pretty soon, the film reveals itself as a very ambitious slasher movie, mixing the inventive gore of the Final Destination and Saw movies with the underlying humanity of Neil Marshall's excellent genre flick The Descent – a good reference point for Donkey Punch. Like The Descent, Donkey Punch has a respect for formula but, more importantly, a commitment to doing things differently, and properly.

Its sex, gore and some of its Ibiza-culture characters may not make it a critic's film, but it's definitely an audience's movie. In the UK alone, where Nick Love's broadsheet-slated geezer dramas have a lucrative working-class fanbase, Donkey Punch ought to make a lot of money. The twist in the tale is that this scary, truly edgy film deserves to.

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Runtime: 83 mins
Theatrical Release: Mar 7, 2008 Wide

Synopsis:

Directed by Roger Kumble (THE SWEETEST THING, JUST FRIENDS), the 2008 comedy COLLEGE ROAD TRIP stars Martin Lawrence as Chicago cop James Porter, an overprotective father who wants to keep his college-bound daughter, Melanie (Raven-Symone), close to home. When the smart, assertive Melanie declares her intention to attend Georgetown instead of Northwestern, James insistently sets out with her on a cross-country car journey to Washington D.C., hoping to dissuade her along the way. En route, of course, plenty of hijinks ensue, including scenarios involving a precocious pig and, oddly enough, Donny Osmond, who turns up as an eeriely cheery dad also on a college-touring campaign. With its broad, slapstick humor and enegetic leads, COLLEGE ROAD TRIP is a perfect vehicle for Lawrence and Raven, who both play to their well-established personas--the former a cranky bumbler, the latter a headstrong teen. Osmond, in his first film role in decades, ideally embodies Ned Flanders-like enthusiasm, stealing plenty of scenes with the aid of his equally giddy on-screen offspring (Molly Ephraim). Although it's far from high-minded cinema, TRIP is a fun, family-oriented road movie that easily appeals to a wide audience, and offers up many silly and appalling moments of parental embarrassment.

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Sivaprakash

Runtime: 1 hr 32 mins
Theatrical Release: Mar 7, 2008 Limited

Synopsis:

As in MRS. HENDERSON PRESENTS and BEING JULIA, this period comedy brings wit and style to its depiction of 1930s London. Based on Winifred Watson's novel, MISS PETTIGREW LIVES FOR A DAY begins with the title character, a frumpy governess winningly played by Frances McDormand (FARGO), being turned away from her employment agency. After losing her job prospects and all her earthly possessions in a mishap, Guinevere Pettigrew isn't sure where her next meal is coming from. But some cleverness leads her to the door of aspiring actress Delysia Lafosse, a woman who needs a social secretary to juggle her three men: a nightclub owner (Mark Strong), a son of a theater producer (Tom Payne), and a piano player (Lee Pace). The first two offer her a chance at stardom, but the pianist can't give her anything but love. In a single day, Miss Pettigrew helps Delysia navigate the ever-stormy waters of love, while she learns that romance may not only be reserved for the young. With its witty script and jazzy score, MISS PETTIGREW may seem feather-light at times, but there's an undercurrent of sadness that gives the comedy a bit of weight. World War II is just about to come to London, and the echoes of the previous war still haunt those who can remember it. Unsurprisingly, McDormand gives a fantastic performance as the title character, but the effervescent Adams continues to surprise, even after turning in great work in JUNEBUG and ENCHANTED. As impressive as the two female leads are, there are some excellent performances from two male costars: Ciáran Hinds (MARGOT AT THE WEDDING) is perfectly warm as a lingerie designer Miss Pettigrew encounters, and Pace (PUSHING DAISIES) wins hearts as the faithful Michael. Costume designer Michael O'Connor also deserves praise for creating the film's eye-catching clothing.

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When young Mathayus witnesses his father's death in the hands of the king, his quest for vengeance transforms him into the most feared warrior of the ancient world.

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Rated: G
Runtime: 81 mins
Theatrical Release: Jul 18, 2008 Wide

Synopsis:

Circus monkey Ham III (voiced by Andy Samberg) works in a circus where he's regularly shot from a canon but he still lives in the shadow of his father's legacy (Ham I was the first chimp shot into space in 1961). A natural born rebel against authority, Ham the third is initially reluctant to go on a dangerous space mission to rescue a lost space probe, but away he goes, for lots of RIGHT STUFF-style astro-training alongside two highly prepared chimps, Luna and Titan (Cheryl Hines and Patrick Warburton). NASA's by-the-book methods jar with Ham's mischief-making of course, but once the space training ends, the mission begins, with myriad dangers along the way, including: a big-toothed monster and a run amok alien named Zartog (Jeff Daniels) whose harnessed the previous space probe for world-domination purposes, all good opportunities for Ham III to redeem himself. Despite all the fangs, parents shouldn't worry too much; not a hair on any chimp is seriously singed, and along the pratfall strewn way there's time for lessons about responsibility and realization of one's full potential. While the animation here is not quite up to Pixar level, it's still pretty and colorful, with a pleasing Candyland quality to the alien planet surface. Samberg brings a savvy zest to his vocal duties as the Ham, Stanley Tucci is a nefarious senator and--getting big laughs with flawlessly deadpan elan--Patrick Breen as one of the trio of egghead scientists. Kird De Micco directed; based on the computer video game.

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Director P. Vasu’s take on Srinivasan’s Kathaparyumbol attempts to show Rajini in a different light, only with a different screen name. Forty minutes into the movie, Rajini appears, bringing with him the glitz and glamour of movie making. He delivers punch dialogues, duets with Nayanthara, and shows that he can still pull in a crowd by playing himself without having to hype up his image. However, in the process, and probably due to the overwhelming presence of the superstar, the delightful story about two friends is regrettably lost.

Kuselan follows the story of Balu, played by Pasupathy, who is more often than not addressed cynically as Barber Balu by his village men. He is down in the dumps because his business is going downhill and is in an attempt to revive it from slumping by applying for a bank loan. His short term goal, however, is to buy a new wooden chair and get rid of his dilapidating old one.

In the mean time, there is hullabaloo in the village owing to a shooting unit that has camped in the neighborhood. Balu gets to know that his childhood friend Ashok Kumar is part of the cast. When the news about Balu’s friendship with Ashok Kumar is let out by his wife Sridevi, played by Meena, the reluctant Balu is burdened with requests from many sections of the village. They want to use Balu’s friendship as a ticket to get near Ashok Kumar for reasons ranging from meeting him in close proximity to inviting him for the village school’s silver jubilee anniversary.

The first forty minutes of the movie, intended to be down-to-earth and unpretentious village comedy, is a classic case of Lost in Translation. Vadivelu’s earsplitting comic act, especially dialogue delivery, steals away the possibility to have a few laughs at the

naivety displayed by Pasupathy. Besides, lack of sharp-witted dialogues also contributes to the tedium. Although Vadivelu’s hiding-and-watching-wife’s-exercising-with-villagers is in bad taste, his shaving-the-balloon act while apprenticing with Pasupathy is hilarious. That apart, Livingston, Santhanam, Manobala, and R. Sundarrajan also contribute to the laughs.

Although Rajini remains the main focus of the movie, Pasupathy wells many eyes with tears often. His inability to express his family about his unwillingness to visit Ashok Kumar, his helplessness when he could not pay his daughter’s school fees, and his emotional turmoil when encountered by his friend’s speech – Pasupathy proves to be the saving grace of the movie at times. Meena, as his unassuming wife, has done an okay job despite having been decked up with brand new saris and costumes as a poor man’s wife.

Nayan plays herself and is oozing with oomph, courtesy, her barely-there costumes. If that’s not enough, she’s also drenched in the rain and caught in different angles for a song that appears like a bolt out of the blue – it also seems to be the case for most of the songs. But who cares, as long as Nayan is there. The focus of the movie quite often shifts to Vadivelu and Livingston who tickle a few funny bones with their unsuccessful attempts to meet Rajini

G. V. Prakash’s music and rerecording flows with the tide. The art department seems to be screaming for attention for all the sets look plastic and non-natural.

On the whole, Kuselan is a friendship tale worth giving a shot. For it is not too often that you get to see Rajini playing himself, the superstar. Not to say, the fifteen minute climax which is the only high point of the movie.

[DVD RIP] Kuselan - SRUTHI - DVD RIP

Movie Info

Banner: Kavithalayaa Productions

Cast: Rajini, Pasupathy, Nayantara, Meena, Mamta Mohandas, Sneha, Kushboo, Sona Vadivelu, Geetha, 'Nizhalgal' Ravi, Vijayakumar, Thyagu, Chinni Jayanth Vaiyapuri

Direction: P Vasu

Production: K Balachander

Music: G V Prakash

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Kalyanram had a peculiar career right from the beginning. His first two films Abhimanyu and Tolichoopulone were flops. Then he launched his own banner 'NTR Arts', named after his grandfather, thespian of the Telugu cinema, N T Ramarao and the film Athanokkade with debutant director Surender Reddy, which proved to be a blockbuster. Again, two of his films Asadhyudu and Lakshmi Kalyanam bumped at the Box Office. To revive his past glory, he produced a film Hare Ram under his own banner again and the film began with a near hit talk. He chose Swarna Subbarao as the director, who had earlier directed Balakrishna for Vijayendra Varma, which was a flop. Learning a lesson from the flop, Swarna Subba Rao, changed his name as Harshavardhan to direct Hare Ram. With a gripping movement of the story, the film was targeted to appease the mass audiences and his effort turned fruitful.

Harikrishna (Kalyanram) and Ramakrishna (Kalyanram) are twin brothers. Both have different mentalities. While Hari is intelligent, Ram is a normal boy. However, Ram had a tendency that he could not digest the idea when someone call him normal or useless fellow. At the same time, he can not tolerate if somebody praises others in front of him. As his father calls Hari intelligent, Ram tries to attack Hari and their father with a knife. This separates Hari and Ram, with Hari staying with his father (Chandramohan) and Ram with his mother (Sita). Hari with his intelligence becomes an IPS Officer. After the death of his father, Hari stays with his paternal uncle (Chalapati Rao), who is also an IPS officer. As this juncture, a journalist and a scientist get killed under mysterious circumstances. The scientist is the brother of a minister, who brings pressure on the police department. Anjali (Priyamani), a CBI officer, teases Hari and acts that she is in love with him. She pretends that she is suffering from murder phobia. At one stage, Hari confesses that he is the killer and gets arrested. But the minister suspects that Hari has confessed the crime only to save his brother. Then Anjali takes Hari to a lie test, where he admits that he only has done to save his brother. However, his paternal uncle realises that Hari has taken an antidote before going for a lie test. Upon questioning Hari reveals that his brother Ram, who changes his mindset with the intervention of a camerawoman Sandhya (Sindhu Tulani) of a television channel, who gets killed in the hands of a fellow journalist and the goons of the minister for unravelling a secret. In fact, the scientist and brother of the minister invents a deadly virus and also its antidote and plans to earn money by spreading the virus first and the antidote later. Irked over the killing of his girl friend, Ram attacks the scientist, who injects the deadly virus to Ram. To prevent its spread, Ram tries to commit suicide and incidentally the vehicle is being driven by Hari. On the request of Ram, Hari kills him to prevent spread of virus and at the same time, takes revenge for the death of his brother and his girl friend. But, he conceals the secret with his mother and acts as Ram with her and Hari with others. In the climax, Hari kills the minister and make everyone believe that Ram also died in the incident. The film ends on a happy note.

PLUS: It is Kalyanram all the way in the entire film. For the first time he has played dual roles in a film in his career and he has shown good variation in both the characters. He maintained difference while playing two roles with different shades as a police and also as a criminal. He has shown good ease in dances and the action scenes are also choreographed in a stylish manner. Priyamani has given her best both as a glamour doll and utilised the opportunity whenever that comes to exhibit her performance capabilities. Comedy by Brahmanandam and Raghubabu is good to watch, while Venumadhav and Ali have also tried the best to keep the audiences in good humour.

MINUS: The entire first half of the film goes on at a good pace and the director has maintained the tempo with a gripping suspense. However, he has lost the grip in the second half, especially immediately after the interval. But, he is able to take back the reins in the climax. Some scenes in the film appear cinematic but the director is able to please the mass audiences with masala and action scenes. The director has ignored to establish the love between Kalyanram and Sindhu Tulani properly. Camera work by Ramprasad and editing by Gauthamraju are just okay. Music by Mickey J Meyer is good in parts.

REMARKS: As the director is of the opinion to elevate the sagging image of the hero, he has prepared a story that was aimed at pleasing the masses. Moreover, the story has the similarities of Manmadha with Simbu as hero, which has been rehashed and kept in a new format. The film has got all kinds of commercial elements that could attract the masses and it would be a hit in 'B' and 'C' centres and average grosser in cities.

Cast: Kalyanram, Priyamani, Sindhu Tulani, Kota Srinivasa Rao, Ashokkumar, Chalapati Rao, Chandramohan, Brahmanandam, Ali, Venumadhav, Raghubabu, Rajiv Kanakala, Nutan Prasad, Prabhakar, Sita, Sudha, Apoorva and others

Credits: Music – Mickey J Meyer, Lyrics – Sitaramasastry, Camera – C Ramprasad, Editing – Gauthamraju, Art – Vivek, Action – Selva and Ram-Lakshman, Producer – Kalyanram, Story, screenplay and direction – Harshavardhan.

Banner: NTR Arts

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Rated: PG-13 [See Full Rating]
Theatrical Release: Aug 1, 2008 Wide

Synopsis:

The blockbuster global Mummy franchise takes a spellbinding turn as the action shifts to Asia for the next chapter in the adventure series, The Mummy: Tomb of the Dragon Emperor. Brendan Fraser returns as explorer Rick O'Connell to combat the resurrected Han Emperor (Jet Li) in an epic that races from the catacombs of ancient China high into the frigid Himalayas. Rick is joined in this all-new adventure by son Alex (newcomer Luke Ford), wife Evelyn (Maria Bello) and her brother, Jonathan (John Hannah). And this time, the O'Connells must stop a mummy awoken from a 2,000-year-old curse who threatens to plunge the world into his merciless, unending service. Doomed by a double-crossing sorceress (Michelle Yeoh) to spend eternity in suspended animation, China's ruthless Dragon Emperor and his 10,000 warriors have laid forgotten for eons, entombed in clay as a vast, silent terra cotta army. But when dashing adventurer Alex O'Connell is tricked into awakening the ruler from eternal slumber, the reckless young archaeologist must seek the help of the only people who know more than he does about taking down the undead: his parents. As the monarch roars back to life, our heroes find his quest for world domination has only intensified over the millennia. Striding the Far East with unimaginable supernatural powers, the Emperor Mummy will rouse his legion as an unstoppable, otherworldly force...unless the O'Connells can stop him first. Now, in The Mummy: Tomb of the Dragon Emperor, the trademark thrills and visually spectacular action of the Mummy series will be redefined for a new generation. The Mummy: Tomb of the Dragon Emperor is helmed by director Rob Cohen (The Fast and the Furious, xXx) and written by Alfred Gough & Miles Millar (Spider-Man 2, television's Smallville). Reprising their roles as producers in the series are Bob Ducsay, Sean Daniel, Stephen Sommers and James Jacks. --© Universal Pictures

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Rated: R [See Full Rating]
Theatrical Release: Jul 25, 2008 Wide

Synopsis:

Will Ferrell and John C. Reilly, who last teamed in the box-office smash Talladega Nights: The Ballad of Ricky Bobby, now star in Step Brothers, directed by Adam McKay (Talladega Nights). In Step Brothers, Ferrell plays Brennan Huff, a sporadically employed thirty-nine-year-old who lives with his mother, Nancy (Mary Steenburgen). Reilly plays Dale Doback, a terminally unemployed forty-year-old who lives with his father, Robert (Richard Jenkins). When Robert and Nancy marry and move in together, Brennan and Dale are forced to live with each other as step brothers. As their narcissism and downright aggressive laziness threaten to tear the family apart, these two middle-aged, immature, overgrown boys will orchestrate an insane, elaborate plan to bring their parents back together. To pull it off, they must form an unlikely bond that maybe, just maybe, will finally get them out of the house. The screenplay is by Will Ferrell & Adam McKay from a story by Will Ferrell & Adam McKay & John C. Reilly. Jimmy Miller and Judd Apatow produce. --© Sony Pictures

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