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Plot Info:

Plot Outline:
In order to keep the woman of his dreams from falling for another guy, Charlie Logan has to break the curse that has made him wildly popular with single women: Sleep with Charlie once, and the next man you meet will be your true love.
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Starring : John Abraham, Ayesha Takia, Paresh Rawal, Ranvir Shorey, Joy Fernandes, Jessy Randhawa
Director : Anurag Kashyap
Producer : Kumar Mangat, Vishal Bharadwaj
Music Dir : Vishal Bharadwaj
Singers : Adnan Sami, Daler Mehndi, Rekha Bhardwaj, Sukhwinder Singh, Sunidhi Chauhan, Vishal Bharadwaj, Deva Sengupta
Lyrics : Gulzar
Genre : Drama


K is so addicted to smoking that is has become impossible for him to live without it. However, he gets a rude jolt when fed up with her husband’s craving for ciggies, his wife, Anjali walks out on him never to return unless he quits smoking. It is then he decides to do something about his obsession. He goes to meet Baba Bengali Sealdahwaale, who runs a ‘Prayogshala’ -- a centre for rehabilitation from all sorts of addiction and afflictions. When he meets the Baba; he walks into an agreement he can’t walk out of. Proud and desperate, K throws caution to the wind and challenges the Baba’s diktats. However, he realizes that he can’t escape Baba no matter what he tries. Until of course the contract is complete.

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Friday, October 26, 2007 at 6:32 AM | 0 comments  

Movie: Machakkaran
Cast: Jeevan, Kamna
Music: Yuvan Shankar Raja
Director: Tamilvannan
Banner: Madras Productions - Ent
Year: 2007


Song 1- Jigiruthanda
Song 2- Nellayila Mannedutha
Song 3- Vayasu Ponnu
Song 4- Vaanathayum Megathayum
Song 5- Nee Nee Nee

Download Full Album Here (VBR Quality)
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Tuesday, October 23, 2007 at 9:37 PM | 0 comments  
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Azhagiya Thamizh Magan (2007) (English:Handsome Tamilian) is a forthcoming high budget Tamil film directed by Bharathan. Bharathan has previously worked with Vijay in Ghilli as both an Assistant Director and dialogue writer. This movie is creating great expectations as Vijay and AR Rahman are joining hands and it’s Vijay’s 45th movie.This will be the first movie with Vijay and Shriya. Shooting for the film has started from January 24, 2007 and the movie is expected to be a Deepavali release. The audio was released on OCT 22nd.[2]

Starring : Vijay, Shriya, Namitha, Sriman
Music : AR Rahman
Director : Barathan
Producer : Appachan


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Saturday, October 20, 2007 at 8:14 AM | 0 comments  

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After five terrible movies Sam Raimi’s Ghost House Pictures has finally taken the plunge into R-rated horror and produced what inevitably is their best film ever. 30 DAYS OF NIGHT, which was created as a comic book by Steve Niles, is also one of Sony’s (Columbia Pictures) best horror films in years. Fans of the comic book can rejoice in this adaptation, which takes a simple idea and transforms it into a compelling work of art, as well as a bloodbath of insane proportions.

Set in the isolated town of Barrow, Alaska, in the extreme northern hemisphere, which is plunged into complete darkness annually for an entire month. When most of the inhabitants head south for the winter, a mysterious group of strangers appear: bloodthirsty vampires, ready to take advantage of the uninterrupted darkness to feed on the town's residents. As the night wears on, Barrow's Sheriff Eben (Josh Hartnett), his estranged wife Stella (Melissa George), and an ever-shrinking group of survivors must do anything they can to last until daylight.

David Slade is a genius. There I said it. After the suspenseful HARD CANDY, there was no doubt that this commercial director veteran was the real deal, someone who can keep an audience on the edge of their seat for an hour and a half. With 30 DAYS he not only shows off his ability to create tension, but also invents a look for the film that has never been done before. This truly is a comic book come to life, like something right out of THE TWILIGHT ZONE. The cinematography is stunning and the cold, desolate blue atmosphere brings you right into Barrow with our lead characters. There are scenes that literally make you feel like you are standing right next to Stella or Eben hiding from the bloodthirsty vampires. His use of crane shots put the small town on display in a single shot showing us just how tiny this town really is. Contrary to giving us atmosphere from a distance, he pulls as tight as he possibly can into our actors faces so we can see exactly how they are feeling. And then watching the vampires pounce through the shadows in between shots completed the authentic comic book look. David Slade has brought this world to life, and made it completely believable.

In addition to the look of the film, Slade works the audience in the same way that our leads are experiencing this horrific situation. He literally brings the audience into the movie thus creating a level of commitment to the characters and giving them the feeling that if the characters live, they live. His use of gore is built directly into the necessity of the moment at hand and nothing appears to just be there as a gag. For example one of the lead characters becomes infected, someone we really learn to love – he has to die. Eben walks him into the back room and shuts the door, and all we get is sound effects and a close up of one of the girls’ eyes with tears brewing. It’s a heartbreaking moment that would have been cheapened with a heavy use of blood. Slade also understands that there are some pay-off moments where he delivers some of the most twisted gore in a long time. We see a character get half his arm cut off and watch him scream as the bone protrudes out of the flesh. And in one of the most exciting moments of the film we see a machine tear dozens of vampires apart, limb from limb. In short, 30 DAYS has it all. It’s an axe to the face, literally.

Furthermore, 30 DAYS OF NIGHT has phenomenal acting, which only aids in the believability of the film. Danny Huston is probably one of the most chilling lead vampires in the history of film. He speaks a created dialect that nauseates as much as it intrigues. He also speaks it, so well, through the insane teeth that take up his entire mouth. His deathly stare shoots a chill down your spine and he gets you to giggle while he uses blood to sleek back his hair. He is simply wonderful; the staple vampire. And let’s not forget Ben Foster as the Stranger, who steals the show during the first act. He plays “that creepy dude” who sends the message for the tribe of vampires and sets the traps for the humans. He’s the Igor to the Frankenstein. Melissa George is never anything less than superb and Josh Hartnett is better than everyone thinks. The evolution of Hartnett’s character is a tremendously difficult task, which he deserves props on doing so flawlessly.

On a negative note there were only a few things that really bothered me. The first was the excessively loud mix, which not only blew out my eardrums but also had me jumping at moments that I felt was completely unnecessary. The second flaw is almost a sweet necessary evil, that being the length of the film. 30 DAYS felt a little long and tedious at moments, which is the grand scheme of things is beautiful poetry. Like mentioned earlier in this review, it was as if Slade attempted to bring the audience into the film, so the fact that the film felt long and uncomfortable was as if Slade was attempting to make the audience feel exactly what the characters were feeling. At some point near the finale you just want it to end, not because you're bored but because you’re uncomfortable and sick of hiding. When Eben finally stands up and becomes a man, the audience should not only feel a weight lifted off their shoulders but also be energized and pumped for the final battle. Slade takes the audience along for the ride and never let’s them off the hook - there is no “push here to stop,” unless of course you leave the theater. Lastly, I think that the 30 days transition was poorly done as you cannot really tell how many days have passed, the only mention of this is when a title card appears at the bottom of the page.

By borrowing intense social lessons from films like Romero’s NIGHT OF THE LIVING DEAD (work as a group and live, fight with each other and die), and recognizing the flaws in past vampire/genre films, Slade and co. were able to seal the cracks and deliver a solid hardcore horror film – one that is nearly flawless. 30 DAYS OF NIGHT isn’t just a movie, it’s a ride. Slade takes you out of the theater and gets you so engulfed in the film that you will feel nearly every emotion the characters do. Dress warm this Halloween season and get ready for 30 DAYS OF NIGHT, one of the most insanely violent, scary and suspenseful horror films in years.
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Thursday, October 18, 2007 at 8:12 AM | 0 comments  

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Wednesday, October 17, 2007 at 8:11 AM | 0 comments  

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Amithabh bachan celebrated his 65th birthday and he still looks charming,busy and active. with his deep voice still he is attracting many people in the world. Wish he would live for a long
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Wednesday, October 10, 2007 at 6:39 AM | 0 comments
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Saturday, October 6, 2007 at 6:03 PM | 0 comments  

The story told in “Eastern Promises” is a grim and violent one, set in London’s expatriate Russian underworld. The film, directed by David Cronenberg from a script by Steve Knight, revisits a number of themes and motifs that are staples of the genre: the ties of family and culture that bind criminal organizations; Oedipal drama; honor among thieves. The audience stumbles into this realm in the company of an innocent outsider (Naomi Watts) who finds herself at once fascinated and repelled by it, as well as in considerable danger.
But even as the turns of its narrative and the contours of its characters are recognizable, very little about “Eastern Promises” feels predictable or secondhand. From his early days making low-budget horror movies in Canada to his current ascendancy as a favorite of the international critical cognoscenti, Mr. Cronenberg has always been a master of estrangement. He and his cinematographer, Peter Suschitzky, shoot the dark, rain-slicked London streets in tones that turn the city into a sinister, palpitating presence. Mr. Cronenberg’s deliberate, almost stately pacing — the way he lingers in scenes for an extra beat or two, as if studying the faces of his actors for clues — transforms what might have been a routine thriller into something genuinely troubling.

Mr. Knight deserves a lot of credit as well, since he is clearly as interested in the social and ethical implications of the story as he is in its twists and reversals. Among the other screenplays he has written are those for “Dirty Pretty Things,” another peek into the murky byways of multicultural London, and “Amazing Grace,” a stirring biography of the 18th-century British abolitionist William Wilberforce.

“Eastern Promises,” like those earlier movies, is fundamentally about the moral scandal of slavery, the traffic in human bodies and human misery that persists, in secret and in the shadows, even in the modern, cosmopolitan West.

The plot of “Dirty Pretty Things” turned on the sale of organs for transplant. “Eastern Promises” glances at the consequences of the global sex trade, particularly as it involves women and girls from the former Soviet Union. Ms. Watts’s character, Anna, is a midwife at a London hospital — the daughter of a Russian father and a British mother (Sinead Cusack) — obsessed with the background of a baby she has delivered. The infant’s mother was a teenage girl who died in childbirth, leaving behind a diary that chronicled her horrific exploitation and that may contain information about the identities of her tormentors.

Rather guilelessly, Anna follows a trail that leads her to an elegant Russian restaurant, whose proprietor, Semyon (Armin Mueller-Stahl), is a soft-spoken monster with twinkly blue eyes. When he is not decorating birthday cakes for exiled dowagers, Semyon leads a local chapter of the Vory v Zakone, the Russian Cosa Nostra, born in Stalin’s prison camps, whose members are known, like Japanese yakuza, by the tattoos that cover their skin.

Anna, who speaks no Russian, is innocent of the ways of the Vory, but her irascible uncle Stepan (played by the veteran Polish director Jerzy Skolimowski), warns her to steer clear of them.

Several forces combine to pull her into their orbit, though. In addition to her desire to honor the dead girl and protect the baby, there seems to be a trace of the sentimental curiosity that an assimilated, second-generation immigrant might feel about the old country. And then there is Nikolai, the well-mannered, ambitious ex-convict with slicked-back silver hair who serves as driver and wingman for Semyon’s impulsive, unhappy son, Kirill (Vincent Cassel).

Nikolai, who presents himself to Semyon as both loyal and ambitious, is played, with flawless control, by Viggo Mortensen. The immovable hair and the deep dimple in his slightly crooked chin suggest a young Kirk Douglas, but Mr. Douglas was never this quiet. In “A History of Violence,” Mr. Mortensen seamlessly impersonated an ordinary, decent small-town guy who was also a cold, professional killer. Nikolai is a similarly ambiguous — or perhaps divided — character. He is all hard, tense muscle, and yet an almost subliminal hint of compassion occasionally shines through his icy, impassive face.

“Eastern Promises” is itself an intriguing, not always stable mixture of moods and attitudes. There are, as usual in Mr. Cronenberg’s films, scenes of intimate brutality that you almost absorb physically, rather than with your eyes. (One, a grisly knife fight in a steam room, with Mr. Mortensen wearing only his tattoos, is likely to become a touchstone for cinema fetishists of various kinds.)

The rigor of Mr. Cronenberg’s direction sometimes seems at odds with the humanism of Mr. Knight’s script, but more often the director’s ruthless formal command rescues the story from its maudlin impulses. Mr. Knight aims earnestly for your heartstrings, but Mr. Cronenberg insists on getting under your skin. The result is a movie whose images and implications are likely to stay in your head for a long time.

“Eastern Promises” is rated R (Under 17 requires accompanying parent or adult guardian). It has profanity, sex and extreme violence.


Opens today nationwide.

Directed by David Cronenberg; written by Steve Knight; director of photography, Peter Suschitzky; edited by Ronald Sanders; music by Howard Shore; production designer, Carol Spier; produced by Paul Webster and Robert Lantos; released by Focus Features. Running time: 100 minutes.
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Erica Bain, the gunslinging heroine of “The Brave One,” is the host of a public radio talk show called “Street Walk” that takes a sentimental, nostalgic view of New York City. Also a rather purple one, since Erica is prone to come up with poeticisms on the order of “New buildings sprout like chromosomes from the city’s DNA,” a sentence that someone evidently thought so highly of that we get to hear it twice.
Until a senseless act of violence wrecks her affection, Erica looks back longingly at a vanished metropolis whose touchstones include Eloise at the Plaza and Sid Vicious at the Hotel Chelsea. She sighs about how that old Manhattan — Edgar Allan Poe and Andy Warhol are other names in her necrology — is “dying.”

For its part, “The Brave One,” though set in the present, tries to conjure a more specific moment in the history of New York, a time when its citizens, on screen and off, seemed to be in far greater danger of actually dying at one another’s hands. Around 30 years ago, in the depths of its civic and fiscal crises, the city served as a perfect setting for nasty, dark-hearted crime dramas — tales of vengeance that ranged from “Death Wish,” on the brutal, populist end of the spectrum, to the more self-aware and nuanced “Taxi Driver.”

In that movie Jodie Foster played Iris, the young prostitute who was the object of Travis Bickle’s white-knight fantasies. In this one Ms. Foster’s character, Erica, is, like Travis, a haunted survivor who supplies rueful voice-over narration. But her spirit is in many ways closer to that of Charles Bronson’s workaday vigilante in the “Death Wish” movies. The public radio gig, the references to Emily Dickinson and D. H. Lawrence, the directing credit for Neil Jordan (of “Crying Game” fame) — all of this produces a patina of refinement and seriousness.

But don’t be fooled. “The Brave One,” though well cast and smoothly directed, is just as crude and ugly as you want it to be.

And that, the movie insists, is how, in your heart of hearts, you really do want it to be. Its none-too-subtle governing idea is that even the most effete, brownstone-dwelling public radio listener (or New York Times reader) might feel the occasional urge to blow someone’s head off.

Mr. Jordan and the screenwriters, the father-and-son team Roderick Taylor and Bruce A. Taylor, and Cynthia Mort, clearly relish the conceit of transforming a slightly built, overcivilized blonde into a killing machine. After allowing us a glimpse of the carefree life Erica shares with her fiancĂ©, David (Naveen Andrews) — scenes that remind you just how little the portrayal of happiness has figured in Ms. Foster’s recent performances — they plunge her into a modern urban horror story.

While walking their dog at dusk in Central Park, with joggers and park-bench sitters in sight, Erica and David are viciously beaten and robbed by three thugs, who also steal the dog. As if to emphasize the swift, brutal transition from before to after, Mr. Jordan tastelessly juxtaposes images of Erica’s bloody clothes being stripped off in the emergency room with flashbacks of David slowly undressing her for lovemaking. After three weeks in a coma, Erica awakens to find that David has died and that she is paralyzed by fear and grief.

The cure is an illegally purchased 9-millimeter pistol and a box of bullets (when told of the mandatory 30-day waiting period for a legal purchase at a downtown gun store, she replies, “I need something now,” perhaps unwittingly echoing one of Homer Simpson’s greatest lines.) At first accidentally and then deliberately, Erica becomes a vigilante, shooting down a murderous husband who is also a convenience-store robber, a pair of iPod thieves who are also potential rapists and a few other bad guys whose badness is similarly overdetermined.

Erica clearly feels some anguish, but little in the way of remorse. Ms. Foster handles her emotions efficiently, having made pain offset by steeliness something of a specialty of late. In “Panic Room” and “Flight Plan” her mix of desperation and ferocity was that of a mother in extremis. Here, looking smaller and more vulnerable but at the same time more ruthless, she is driven by grief, perhaps a less rational and more dangerous motivation.

Not that “The Brave One” is overly concerned with the finer points of her psychological state. Nor does it have much new or interesting to say about the morality of her actions or the urban context she inhabits. Erica’s foil and confidant is a homicide detective named Sean Mercer (Terrence Howard), who seems to be the only member of the New York Police Department actually interested in doing his job. (His partner, played by Nick Katt, is the only person in the movie with a sense of humor).

Mercer befriends Erica and agrees to be interviewed for her radio show, even as he is investigating the shootings carried out by the mysterious, presumably male, vigilante.

They have a few desultory discussions about the rule of law and the ethics of extrajudicial killing, arguments that are resolved in a climax that manages to be at once preposterous, sentimental and appalling. That it may also be viscerally satisfying is a sign of just how cowardly “The Brave One” really is. It’s a pro-lynching movie that even liberals can love.

“The Brave One” is rated R (Under 17 requires accompanying parent or adult guardian). It has intense violence, profanity and some nudity.


Opens today nationwide.

Directed by Neil Jordan; written by Roderick Taylor, Bruce A. Taylor and Cynthia Mort, based on a story by the Taylors; director of photography, Philippe Rousselot; edited by Tony Lawson; music by Dario Marianelli; production designer, Kristi Zea; produced by Joel Silver and Susan Downey; released by Warner Brothers Pictures. Running time: 122 minutes.
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here’s nothing surprising about “The Game Plan,” in which a quarterback named Joe Kingman, played by Dwayne (The Rock) Johnson, learns to love the young daughter, Peyton (Madison Pettis), he never knew he had. But the movie is so likable that it glides over its many plot holes (including the fishy explanation of why Joe never knew about Peyton, and an 11th-hour revelation by the girl that’s even less persuasive). The film’s direction, by Andy Fickman, is raucous but never crass, and the affable Mr. Johnson is committed to every moment.

The screenplay, by Nichole Millard and Kathryn Price, establishes Joe as a man-boy who talks about himself in the third person and has a separate room for his trophies. Peyton puts a tutu on his bulldog, switches his television to a horse program during the final seconds of an N.B.A. game and insists on being enrolled in a ballet class.

The class yields a hint of romance for Joe (with Peyton’s elegant, tough teacher, played by Roselyn Sanchez). And it lets Mr. Fickman stage some lively sequences, including an endearing montage that cuts between ballet and football practice, and a dance recital in which Joe, who’s been pressed into service as a tree, plays his role with such sincerity that he brings his burly teammates in the audience to tears.
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Fight Club copied from Fight Club

Akele Hum Akele Tum copied from Kramer vs Kramer

Paap copied from Witness

Zeher copied from Out of Time

Main Aisa Hi Hoon copied from I Am Sam

Heyy Babyy copied from Three Men and a Baby

Koi Mil Gaya copied from E.T.

Agneepath copied from Used a lot of references to Scarface

Road copied from The Hitcher

Dhamaal copied from Rat Race

Black copied from The Miracle Worker

Bade Miyan Chote Miyan copied from Some scenes inspired from Bad Boys

Salaam Namaste copied from Nine Months (1995)

Kyon Ki… copied from One Flew Over The Cuckoo’s Nest (1975)

Kucch To Hai copied from I Know What you did Last Summer (1997)

Awara Paagal Deewana copied from The Whole Nine Yards (2000)

Deewangee copied from Primal Fear (1996)

Kartoos copied from Point of No Return (1993)

Yeh Kya Ho Raha Hai copied from American Pie (1999)

Yaarana copied from Sleeping with the Enemy (1991)

Murder copied from Unfaithful (2002)

Krrish copied from Paycheck

Dil lage copied from Sabrina

Mein Anari tu khilade copied from The hard way

Partner copied from Hitch

The Train copied from Derailed

Speed copied from Cellular

Malamaal Weekly copied from Waking Ned Divine

Ek Ajnabee copied from Man on Fire

The Killer copied from Collateral

Raaz copied from What Lies Beneath

Kaante copied from Reservoir Dogs

Sarkar copied from The Godfather

Chocolate copied from The Usual Suspects

Alag copied from Powder

Deewane Huye Paagal copied from There’s Something About Mary

Chor Machaye Shor copied from Blue Streak

Hum Tum copied from When Harry Met Sally /Before Sunset

Mere Yaar Ki Shaadi Hai copied from My Best Friend’s Wedding

Aap Ki Khatir copied from The Wedding Date

Kyonki…Main Jhuth Nahin Bolta copied from Liar Liar

Papi Gudia copied from Child’s Play

Zinda copied from Old Boy (Chinese Korean Movie, not Hollywood)
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Thursday, October 4, 2007 at 7:17 AM | 0 comments  

Much as we love Jamie Foxx, it was the Israeli actor Ashraf Barhom who commanded our attention in Peter Berg’s new action flick "The Kingdom."

As the Saudi colonel Faris Al Ghazi responsible for guarding a bunch of FBI Special Agents investigating a horrific attack in Saudi Arabia in which many American lives were lost including an FBI colleague, Ashraf Barhom brings an intensity to his character that Foxx - who plays an FBI Special Agent Ronald Fleury here - never seems to achieve.

A geopolitical action thriller with car chases and its twin siblings bombings and kidnappings, The Kingdom is not in the same league as that edge of the seat, steroid-laced thriller of this summer Bourne Ultimatum.

Simply put, former CIA operative Jason Bourne trumps FBI Special Agent Ronald Fleury in every department - story, action and pace.

But don’t get us wrong.

The Kingdom is still a decent movie compared to any of the currently running Bollywood nightmares at the Indian theatres in New York, New Jersey or California.

Against the wishes of the wimpy Attorney General Gideon Young (Danny Huston) and the State Department, four FBI agents land in Saudi Arabia to investigate a deadly attack.

With just five days to complete their difficult mission, the FBI agents led by Foxx meet with a hostile reception in Saudi Arabia both from the local U.S. State Department fellow Damon Schmidt (Jeremy Piven) as well as from their Saudi hosts.

Saudi colonel Faris Al Ghazi is responsible for their security and also for ensuring that the FBI agents do not step out of line in a country where for much of the local population Osama bin Laden is the hero and the Americans are the villains.

Saudi Arabia is a harsh terrain in every way - language, culture, anti-American sentiments and other prejudices stymie the FBI agents at every turn.

Although the story is not gripping in its entirety, The Kingdom has a lot of good moments.

Jennifer Garner, Jason Bateman and Chris Cooper as the other FBI agents and particularly Ali Suliman as the Saudi Sergeant Haytham do an adequate job.

Much of this geopolitical thriller was actually shot - literally and figuratively in this case - in Arizona though it’d hard to figure that out if you didn’t know it already
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