Avatar Movie Trailer

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Few blockbusters in recent memory have quite the hype value of James Cameron’s Avatar, a sci-fi extravaganza so breathlessly anticipated that every clip and nugget from it are being pounced on like multimedia manna. Further to Thursday’s online release of a brief teaser trailer, 3D-enabled cinemas worldwide hosted sell-out screenings yesterday of a 15-minute showreel.

As tasters go, if the trailer felt like a paltry amuse bouche, this was more like a mouth-watering tray of deluxe canapés. The outline of the story is becoming clear: a disabled marine (Sam Worthington) travels to an outlandish alien planet, where he is telepathically ported into the body of another being. His awakening into the shape of a 9-foot-tall, blue skinned, slightly reptilian humanoid with a tail was one of the key sequences shown. In 3D and on Britain’s largest screen, the BFI IMAX in London, Cameron’s boundary-pushing visuals have room to breathe, and Fox’s marketing strategy — unveil a little at a time, and start early — will help this dense blurring of live action and photorealistic animation surmount the initial jolt to our faculties.

The planet’s jungle environment has a gorgeous iridescence and depth in three dimensions. This preview unleashed its biggest wow when Worthington’s avatar, as part of a tribal initiation rite, must grapple with and subjugate a pterodactyl-like thing, which he then mounts for a dizzying ride between mountaintops. Sigourney Weaver makes her promised appearance as the head scientist in charge of the body-swap technology, and takes her own turn in glittering, digitally-altered alien form as well: it’s great to see her. They’re being rightly cautious with plot points – all these scenes come from the first half of the movie — but the rendering throughout is sensational, and Cameron’s new world looks rich and strange enough to give you wanderlust.

Quibbles? There’s a chase with dinosaur-sized predators which lacks real tension out of context, and looks too reminiscent of Jurassic Park and King Kong, among other films. Feeling his way around such an organic, heavily foliated world (as opposed to the biomechanical one of Aliens, coupled with the trademark fetish for hardware throughout his work) is a forte Cameron has yet to prove. But the highlights here go a long way to compensate for that skittish, underwhelming trailer. By the end, I felt – yes – goosebumps.

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Acid Factory Movie Trailer

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Acid Factory – Hindi movie Review

Besides Abbas-Mustan, Sanjay Gupta has attempted interesting thrillers in the past. His new outing, ACID FACTORY, directed by Suparn Verma, is a cat-n-mouse chase that will have you on edge of the seat as it unfolds.

Inspired by Hollywood film UNKNOWN, ACID FACTORY is engaging in most parts. Also, it’s well adapted to suit Indian sensibilities. It starts off strong enough and keeps the momentum going till the end, though, of course, it goes back and forth at times and that could get a bit confusing.

ACID FACTORY demands your attention from the very start. The viewer ought to stay alert and watch the goings-on carefully. Even if you blink, chances are you may miss a vital link and the subsequent portions may not work for you since there’s something happening every minute.

At the same time, ACID FACTORY has its share of loose ends. The climax, for instance, could’ve been more impactful. Also, the concept is too urbane and holds appeal for the urban youth, who’ve a penchant for slick thrillers.

Final word? ACID FACTORY is a well-crafted, well executed film with the ensemble cast pitching in competent performances.

A man [Fardeen Khan] wakes up in a deserted factory surrounded by several other seemingly dead men. He has absolutely no memory of who he is or how he got there and he is unable to get out. Before too long, the others [Aftab Shivdasani, Dino Morea, Manoj Bajpayee, Danny Denzongpa, Dia Mirza] wake up and they all have amnesia too.

All they know is that some of them have been shot, one is tied to a chair, a third is hanging by his wrist, which is handcuffed to a railing… It is eventually discovered that they have lost their memory because of gas leaked from a container.

Much later, they figure out that two of them have been kidnapped by the other three. Who are the kidnappers and who are their victims? Meanwhile, the police are tracking a sinister man [Irrfan Khan], while a worried wife [Neha] desperately searches for her husband.

ACID FACTORY has enough going for it, thanks to its premise which is intriguing. But the plot is such that it takes time to come to the point. There’s not much happening in the first hour, except the fact that everyone’s clueless about their identity and how they seem trapped in a dilapidated factory.

But the answers start flowing in the second hour. The answers come quick and the reasons why they are trapped are also justified. But, as mentioned earlier, the conclusion could’ve been as realistic like the rest of the proceedings. Also, the track of the harried wife trying to trace her husband isn’t too convincing.

This is Suparn Verma’s second film as a director and midway through the film, you realise that Suparn has grown as a storyteller. The film bears a slick look and also, the narrative holds your attention for most parts. Cinematography is top notch. So is the sound design. Tinu Verma’s stunts and chase sequences deserve distinction marks.

Every actor pitches in an effortless performance. They aren’t putting on an act. The film has an assorted mix of experienced and accomplished actors [Danny Denzongpa, Manoj Bajpayee and Irrfan Khan] and yet-to-reach-there actors [Fardeen Khan, Aftab Shivdasani, Dino Morea and Dia Mirza] and each display confidence in their respective parts. Neha doesn’t get scope, while Gulshan Grover is as usual.

On the whole, ACID FACTORY is a slick thriller that has an interesting premise and also super stunts and chase sequences as its trump cards. The film is targeted at the urban youth, especially those who relish thrillers. Of course, the film will have to storm the dull pre-Diwali period which might curtail its prospects to an extent despite decent merits and also, the three biggies that arrive next Friday.

Banner
White Feather Films
Mumbai Mantra

Release Date
October 9, 2009

Genre
Thriller

Producer
Sanjay Gupta

Executive Producer / Co-Producer
Gary Van Shipley

Director
Suparn Verma

Star Cast
Fardeen Khan
Dia Mirza…… Max
Irrfan Khan
Manoj Bajpai
Dino Morea
Aftab Shivdasani
Danny Denzongpa
Neha
Gulshan Grover
Vida Samadzai…… (Item number)

Cassettes and CD’s on
Junglee Music

Singers
Aanchal
Raaj Gopal Iyer
Manasi Scott
Shweta Vijay
Vasundhara Das
Ranjit Barot

Lyricist
Virag Mishra
Manasi Scott
Amitabh Bhattacharya
Shellee

Music Director
Shamir Tandon
Manasi Scott
Gourov Dasgupta
Bappa Lahiri
Ranjit Barot

Cinematography
Sahil Kapoor

Action
Tinu Verma

Art
Nitish Roy

Editor
Bunty Nagi

Screenplay
Sanjay Gupta
Saurabh Shukla
Suparn Verma
Milind Gadagkar

Sound
Resul Pookutty

Dialogue
Girish Dhamija
Saurabh Shukla

Costume
Shantanu
Nikhil
Shaheed Aamir

Publicity Designs
Marching Ants

Story / Writer
Sanjay Gupta

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Wanted – Hindi movie Review

This is for fans and foes of Salman Khan…
Fans, rejoice, Salman is back with a vengeance with WANTED. This is his deadliest performance to date. Yes, you read it right!
Foes, sorry, you won’t be able to lash out at him or pick on him or launch a vicious tirade this time. The spate of flops should come to a grinding halt with WANTED.

Let’s get this straight. WANTED rides on Salman Khan’s star power. He may not be the best actor in town, but in a film like WANTED, in a role that seems like an extension of his personality, you can’t think of anyone else enacting this role with flourish.

A remake of POKIRI [made in Telugu and Tamil versions], WANTED is a full on masala film. Recall the successful potboilers of yore. Recall how the good guy would reduce 10 hoodlums to pulp in a fraction of seconds. Recall how heroism prevailed in the end, no matter how adverse the circumstances were or how powerful the villains would be. Recall those movies in which logic took a backseat since the focus was on entertainment… You relive those moments as reel after reel of WANTED unfolds.

A departure from candyfloss movies and diabetic-sweet characters that most Hindi movies boast of, WANTED takes you back to those days when popular cinema reigned supreme, when the sole motive of the film-maker was to entertain.

The daring hero and his herogiri, the naïve girlfriend, the corrupt cop, the dreaded don, the don’s moll, the fist-clinching henchmen… WANTED is for those who seek unabashed entertainment and relish masala films. Damn the indomitable critics, pseudo intellectuals and connoisseurs of parallel cinema, this one’s not for them. WANTED is for the aam junta.

Radhe [Salman Khan] is a hardcore gangster. A sharpshooter with a sharp brain, he works for Gani Bhai [Prakash Raj], the dreaded Mafioso, but on his own terms. Totally fearless, Radhe single-handedly eliminates Gani Bhai’s enemies one by one; making more enemies in the process.

He’s astounded when the young and pretty Jahnvi [Ayesha Takia Azmi] professes her liking for him. Inspector Talpade’s [Mahesh Manjrekar] lustful eyes fall on Jahnvi. He doesn’t know that Jahnvi has developed a soft corner for Radhe.

Whether it’s the Golden Gang or Data Pawle’s Gang, everybody wants the biggest piece of the lucrative cake that is Mumbai and the only way to get it is to eliminate whoever gets in the way. As Mumbai reels under bloody gang wars, Commissioner Ashraf Khan [Govind Namdeo] vows to make the city crime free.

Director Prabhu Dheva serves a hardcore masala fare that’s not inventive or path-breaking by any standard, but the execution of several scenes as also of stunts takes the graph of the film Northward. In fact, if at all there’s any film that competes with GHAJINI as far as raw appeal goes, it’s WANTED. Every action/stunt/chase here is choreographed with aplomb.

Watch out for the action sequence at the interval point or the penultimate half-an-hour. The climax is sure to send scores of action lovers in frenzy, as Salman bashes the evil forces black and blue. It wouldn’t be erroneous to state that the climax is worth the price of the ticket, samosa, sandwich, popcorn, nachos and cola put together.

Not that this 18 reeler abounds in mindless action. As mentioned earlier, this one’s a hardcore masala film and the narrative has its share of light moments and romantic sequences. Even the bad man here makes you laugh intermittently [when he's not spewing venom], especially in the sequence when the Commissioner of Police holds him captive in the middle of the sea. Even the romance between Salman and Ayesha charms its way into your heart. It’s very likable.

But WANTED is not without its share of flaws. The film stands on a thin storyline and the viewer can guess what’s in store next, which means that there’s not much novelty in the plot. Besides, WANTED could’ve done without a song or two, thereby keeping its length in check.

Director Prabhu Dheva has presented Salman like never before. Most actors have drifted away from roles that hold tremendous mass appeal, that cater to the desi audience, like they did in the 1980s. SRK did it in OM SHANTI OM, Aamir Khan did it in GHAJINI and Salman does it so effortlessly in WANTED. The screenplay [Shiraz Ahmed] may not be foolproof, but it has its share of shining moments. Dialogues are clapworthy, especially those delivered by Salman.

Sajid-Wajid’s music is of a mixed variety. ‘Jalwa’ is the best of the lot and the star presence of Anil Kapoor, Govinda and also Prabhu Dheva in this track will send the viewers into raptures. The remaining tracks oscillate between good and strictly okay. This review would be incomplete without the invaluable contribution by the action director. It deserves brownie points. Cinematography too is top notch.

Salman is like a ferocious lion who roars with all his might. The show belongs to the actor, who scorches the screen every time he displays the manic anger. Without doubt, Salman gives the power to WANTED. It’s his best work to date.

Ayesha Takia Azmi is very good and the pairing with Salman looks wonderful. Vinod Khanna is sidelined. He deserved more footage. Mahesh Manjrekar is excellent. He’s only getting better with every film. Prakash Raj is first-rate. The accomplished actor adds yet another feather to his cap. Govind Namdeo is perfect.

Mahek Chahal radiates oomph. Aseem Merchant is alright. Raju Mavani is effective. Inder Kumar and Sajid are okay. Manoj Pahwa tries hard to make you laugh. Prateeksha Lonkar is as usual.

On the whole, WANTED rides on Salman, Salman and only Salman Khan’s star power. A masala film that’s aimed at the masses, WANTED is backed by tremendous hype and hoopla, which will result in the film taking an earth-shattering start at the ticket window. The Idd celebrations in the coming days will only enhance the business of the film, which means that the film will have a solid Week 1. The holidays in Week 2 should also be bountiful, thereby ensuring a strong place in the ‘Hit’ category.

Banner
Sahara One Motion Pictures
S K Films Enterprises

Genre
Action

Shooting Locations (City & Country)
Bangkok (Thailand)
Thailand
India

Producer
Boney Kapoor

Executive Producer / Co-Producer
Balraj Irani
Arjun Kapoor

Director
Prabhu Deva

Star Cast
Salman Khan…… Radhe
Ayesha Takia Azmi…… Jhanvi
Mahesh Manjrekar…… Inspector Talpade
Asseem Merchant
Sajid
Vinod Khanna
Mahek Chhal
Prakash Raj…… Gani Bhai
Anil Kapoor…… Special appearance
Govinda…… Special appearance
Prabhu Deva…… Special appearance
Inder Kumar
Govind Namdeo…… Commissioner Ashraf Khan
Manoj Pahwa
Salmaan Khan
Sarfaraz Khan
Prateeksha Lonkar
Raju Mavani

Singers
Wajid
Amrita Kak
Kamaal Khan
Sunidhi Chauhan
Suzanne D’Mello
Shaan
Shreya Ghosal
Soumya Raoh
Hrishikesh Kamerkar
Nikita Nigam
Earl
Salman Khan

Lyricist
Jalees Sherwani
Sameer
Arun Bhairav
Wajid
Shabbir Ahmed
Salman Khan

Music Director
Sajid
Wajid

Background Music
Salim Merchant
Sulaiman Merchant

Cinematography
Nirav Shah
S Sriram

Choreography
Prabhu Deva
Raju Sundaram
Vaibhavi Merchant
Rajiv Surti

Action
Vijayan Master

Screenplay
Shiraz Ahmed

Sound
Pradeep Suri

Dialogue
Shiraz Ahmed

Story / Writer
Poori Jagannath

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Avatar Movie Trailer

Avatar 3D preview

Few blockbusters in recent memory have quite the hype value of James Cameron’s Avatar, a sci-fi extravaganza so breathlessly anticipated that every clip and nugget from it are being pounced on like multimedia manna. Further to Thursday’s online release of a brief teaser trailer, 3D-enabled cinemas worldwide hosted sell-out screenings yesterday of a 15-minute showreel.

As tasters go, if the trailer felt like a paltry amuse bouche, this was more like a mouth-watering tray of deluxe canapés. The outline of the story is becoming clear: a disabled marine (Sam Worthington) travels to an outlandish alien planet, where he is telepathically ported into the body of another being. His awakening into the shape of a 9-foot-tall, blue skinned, slightly reptilian humanoid with a tail was one of the key sequences shown. In 3D and on Britain’s largest screen, the BFI IMAX in London, Cameron’s boundary-pushing visuals have room to breathe, and Fox’s marketing strategy — unveil a little at a time, and start early — will help this dense blurring of live action and photorealistic animation surmount the initial jolt to our faculties.

The planet’s jungle environment has a gorgeous iridescence and depth in three dimensions. This preview unleashed its biggest wow when Worthington’s avatar, as part of a tribal initiation rite, must grapple with and subjugate a pterodactyl-like thing, which he then mounts for a dizzying ride between mountaintops. Sigourney Weaver makes her promised appearance as the head scientist in charge of the body-swap technology, and takes her own turn in glittering, digitally-altered alien form as well: it’s great to see her. They’re being rightly cautious with plot points – all these scenes come from the first half of the movie — but the rendering throughout is sensational, and Cameron’s new world looks rich and strange enough to give you wanderlust.

Quibbles? There’s a chase with dinosaur-sized predators which lacks real tension out of context, and looks too reminiscent of Jurassic Park and King Kong, among other films. Feeling his way around such an organic, heavily foliated world (as opposed to the biomechanical one of Aliens, coupled with the trademark fetish for hardware throughout his work) is a forte Cameron has yet to prove. But the highlights here go a long way to compensate for that skittish, underwhelming trailer. By the end, I felt – yes – goosebumps.

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The Ugly Truth – Movie Review

he Ugly Truth, directed by Robert Luketic (Win a Date with Tad Hamilton! and 21), and written by the trio of Nicole Eastman, Karen McCullah Lutz and Kirsten Smith (the last two of whom teamed up with Luketic on Legally Blonde), is a romantic comedy with a glacier where its heart should be.

Katherine Heigl plays Abby Richter, an ambitious and uptight television producer in Sacramento who hasn’t had sex for almost a year. She tells her friends this is because she scares men. To illustrate the point – and this is a film whose humour is nothing if not diagrammatic – we see her turning up for a restaurant date armed with a notebook full of questions to fire at her suitor-victim.

Heigl first came to fame in Judd Apatow’s Knocked Up (2007), a movie whose bawdy humour and good nature just about managed to obscure its fundamentally dubious premise: that someone as comely and shiny-smiled as her would ever fall for a hirsute schlub like Seth Rogen.

In The Ugly Truth, it’s equally hard to imagine that her character, dressed in body-hugging white sweaters and the near spitting image of a young Kim Wilde, would struggle to find a boyfriend. To compound the silliness, we’re meant to believe that she would be drawn to a guy like Mike Chadway (Gerard Butler from 300 and The Phantom of the Opera), a Neanderthal shock-jock of a television personality forced upon her to boost ratings.

Initially, even though they’re meant to abhor each other, he decides to be her dating coach. She has become smitten with her next-door neighbour, a hunky orthopaedic surgeon called Colin (Eric Winter) who drops his bath towel when she falls out of a tree into his arms.

Mike’s advice is so full of chauvinist throwbacks it would make the author of Men Are From Mars, Women Are From Venus blush. It involves, in no special order, wearing short skirts, fellating hot dogs and masturbating frequently. It’s not a recipe for subtle comedy, but subtlety isn’t what Luketic and his writers are after. They’re eager to raunch up things in order to attract a lad-mag demographic.

So there’s a lot of swearing, a lot of battle-of-the-sexes contrivance, and a truly depressing scene in which, like a degraded and degrading homage to When Harry Met Sally, Abby reaches orgasm while wearing vibrating knickers controlled by a young boy at a restaurant.

There’s precious little chemistry between the two leads. Heigl is a talented actress, but she’s skittish and anxious here, flitting between nervy, flirty, bossy and unhappy with such rapidity that she displays no centre of gravity, no core humanity to whom anyone could relate. With Butler, jowly and always mugging, she has next to no chemistry.

Usually a film of this sort has a few grace notes. A delicate indie or Sixties folk song on the soundtrack. A couple of nicely shot landscapes. Here, Aaron Zigman’s crude score intensifies the nausea induced by Avril Lavigne’s faux-punk whelpings over the opening credits. The cinematography, particularly in a cheap-looking air-balloon scene, is accidentally hilarious.

The Ugly Truth would like to be a modern-day screwball comedy; an opposites-attract date movie for edgy sophisticates. But the ugly truth is that it’s no more than a third-rate rip-off of the Hugh Jackman and Ashley Judd vehicle Someone Like You… (2001).