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Rama Rama Krishna Krishna




TELUGU MOVIE ‘Rama Rama… Krishna Krishna…’ directed by Srivas and produced by Dil Raju under the banner of Sri Venkateswara Creations as released on Wednesday (May 12).
‘Rama Rama… Krishna Krishna…’ is a complete family entertainer. Actors Ram,Priya anand, and Bindu Madhavi are in the lead roles of the movie. In ‘Rama Rama… Krishna Krishna…’ actor Ram is appearing for the first time on silver screen with two heroines. 
A good part of the film is played by the action king Arjun where he brilliantly breezes through with his experience. Famed Telugu comedian-actor Brahmanandam does evoke lots of comedy and livens Save as Draftup the proceedings.
The movie has a typical theme with the hero’s (Ram) brother falling in love with Arjun’s (mafia don) sister. The story revolves around how Ram and Arjun’s youngest sister despite of their disagreement come together to make things easy for the couple from elopement to marriage. Again Ram (Ramakrishna) had to keep Arjun’s mafia history a secret until the D day arrived Arjun’s adversary landed in the village to take revenge.
Packed with songs, dances and the inevitable blasting of cars, stabbing and gun fights the story of the film moves from Mumbai to Godavari and back to Mumbai from Godavari. But in the movie one can find the lack of strong emotions. It seems that the director churned a boring affair into an okay watch.
While one of the most senior music directors of Tollywood MM Keeravani composed music for this film, Ananth Sriram, one among the youngest lyric writers had written the lyrics for this film. It is the 200th film of MM Keeravani and he said the he had given very youthful music to RRKK in tune with Ram’s energetic attitude. But the film doesn’t have a single such track which people would prefer to remember for a long time.






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Ironman 2




Tony Stark (Robert Downey, Jr.), a billionaire businessman involved in weapons research and manufacturing, his secretary-slash-CEO Pepper Potts (Gwyneth Paltrow), and her foxy assistant Natalie Rushman (Scarlett Johansson) arrive at an upscale Montecarlo bar. In between the hustle and bustle of waiters doing their job, of wealthy types socializing, of journalists rumormongering, Tony and Pepper go about a continuous banter on some things and nothings while Natalie disappears into the vibrant crowd. The couple walks towards the bar where Justin Hammer (Sam Rockwell), Tony's business rival, is animatedly conversing with a journalist, who upon being introduced to Tony by the forcedly courteous Justin, shifts her attention to the newcomer much to Justin's well-hidden chagrin. The rather talkative sequence stretches up to the moment Ivan Vanko (Mickey Rourke), a Russian scientist whose personal vendetta with Tony has something to do with stolen patents and intellectual property, appears, apparently to wreak havoc.

Before thinking that the described sequence belongs to one of the Robert Altman-inspired commentaries on the dehumanizing repercussions of big business and the celebrity that results out of it, it must be clarified that the scene belongs to the sequel to the 2008 screen adaptation of one of Marvel Comics' most unwieldy superheroes. Iron Man 2, unlike its predecessor which delivered precisely the pure and unadulterated entertainment it promised, is a conundrum. While it is evidently still a superhero movie, it often indulges in these perfunctory scenes of endless chatter between its characters. These scenes are not indispensable either to plot or spectacle. In fact, apart from the fact that they insubstantially detail the extent of the characters' quirks and personalities (Tony, as an egotistical jerk; Pepper, as a hypertensive worrywart; etc.), these scenes predominantly stall the picture, resulting in what feels like an alienatingly imbalanced and possibly incoherent blockbuster. It is safe to say that the sequel will not be as well-loved as its very successful predecessor.

Jon Favreau, who identifies Altman as one of his creative influences, may have been patterned Iron Man 2 after Popeye(1980), one of Altman's most underrated works, released by Paramount and Disney as a children's film but unassumingly possesses a bit of an irreverent angle, with themes and observations that seem unlikely in Max Fleischer's comic masterpiece. Iron Man 2 is similarly awkward, sold as the much-awaited continuation of the Iron Man saga but is actually more mumblecore, with its characters more often seen blabbering than fighting, than special effects extravaganza. The mumble, unfortunately, is empty, more like an attempt at banal humor or a soundtrack to the noises and explosions than a wellspring of wisdom. While Downey and Paltrow showcase the type of chemistry that would have worked in a screwball comedy, and Rockwell inhabits his character's corporate exploitativeness with remarkable ease, their verbose banters only produce kneejerk pleasures that can easily get tiring.

The action scenes, which are very few and far apart, are mostly flat and unsatisfying, just a cornucopia of expensive eye-candy mixed with middling stunts. Moreover, that most of the action only involves men inside metal armors fighting robots enunciate the inconsequence of the battles, given that sweat, blood, or pain are practically eliminated.

Back to Popeye. At least Altman's film looks and feels like a pariah in its genre, which is probably why it was not received well when it was released or it has been taking decades for it to be taken seriously. Iron Man 2, on the other hand, has the indisputable sheen of a Hollywood merchandise and the lousy aftertaste, especially with all the irrelevant teasers to the future superhero movies in the Marvel Films assembly line, of an overdone genre. It has themes of seeming relevance in the current world scenario, like that of war, the greed that it invites, and a host of other things, is more of an echo of a trend among comic book films to have pertinent messages to escape the stigma of these films being only for kids than anything else.

That said and in all honestly, half of me admires the audacity of Favreau to indulge in atypical talkativeness in a special effects-laden picture that will always sell whether or not it has anything intelligent or logical to say. The other half wishes that Favreau had done more than blankly emulate Altman.




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Betting Bangarraju




Cast: Allari Naresh, Nidhi, Kota, Raghu Babu, Amit, Samrat, Sri Akshay, Pilla Prasad, Vijay Sai, Krishna Bhagawan, L B Sriram, Chalapathi Rao, Surekha Vani, Sana, Kalyani etc
Release Date: 9th Apr 2010
Story of Betting Bangaru Raju
Bangarraju (Naresh) is well known for his betting activities in his village and he is born with a golden spoon of luck. His life takes a little turn when he decides to marry a city girl from Hyderabad and fall in love with Divya (Nidhi) when he reaches the city. He proposes to her and is surprised to know there are three others (Amit, Samrat, Sri Akshay) in the race. Divya invites all of them for a test. Who wins the test and tie the knot forms the rest of the story.

Allari Naresh, as usual gave his best energetic performance. He carried the whole movie on his shoulders.
Nidhi has beautiful eyes and very sweet expressions but not so impressive as a heroine must have otherwise her performance is good.
Amit looks handsome and his dialogue delivery is also strong. He fits the role very well and he can take up few meatier roles and for a change anything with positive traits will do him good.
Samrat is tall and handsome but has a strained body language. If he can pump some confidence in his body language then it could work well
Sri Akshay have good looks and also performed satisfactorily well with his dialogue delivery and other aspects of acting.
Raghu Babu has a busy day and he entertains to a great extent in the second half, Krishna Bhagawan was witty, Kota was standard, the ladies did their bit as required. Pilla Prasad, Vijay Sai were okay. The character of ‘Savam’ was hilarious. Chalapathi Rao, L B, Venu, Duvvasi did their bit as required and added value.

The film is basically a comedy treat and enough attempts have been made to keep the smile intact on the faces of the audience.
Cinematography was neat, background score was okay and one song is worth taking home.
Also, the pace of the film was mild and if there was speed in it, the impact would have been much stronger.
Banner: Usha Kiran Movies
Music: Sekhar Chandra
Cinematography: Karuna Murthy
Editing: Gautham Raju
Dialogues: Gandham Nagaraju
Producer: Ramoji Rao
Direction & Screenplay: E Satti Babu
You Can watch this movie “Betting Bangarraju” for its hilarious comedy. But don’t expect good music except with 1 song.

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Housefull


                                                    

                                          Click here for photos   |    Song lyrics


After a long painful drought (thanks to the exam season and IPL matches) of plain boring to irritating films arrives Sajid Khan’s Housefull. While in totality it does fall short of being the big great summer entertainer that it is been claiming to be, it however manages to bring many laughs for you. However, eventually it settles down in familiar territory.

Housefull narrates the tale of Aarush (Akshay), a perpetually unlucky bloke and a loser in life who moves into the house of his best buddy cum another loser, Bob (Ritesh) and his wife Hetal (Lara). But things continue to go wrong for Aarush. Convinced that true love can fade away his bad luck jinx, a desperate Aarush enters into many complicated situations while seeking it. Thus enter Sandy (Deepika) and Devika (Jiah) in his life. Things complicate further with the arrival of Sandy’s angry brother Major Krishna Rao (Arjun Rampal) and Hetal’s estranged dad Batuk Patel (Boman Irani). How Aarush and Bob in an attempt to hoodwink Krishna Rao and Batuk go on creating more confusion leading to a mirthful chaos forms the rest of the plot.


Much was expected from Sajid Khan who has been literally claiming from rooftops for weeks now that he has made the year’s biggest blockbuster. Though he has not entirely let us down, you do wish he could have opted for a more innovative plot. The second half ends up being more of an Anees Bazmee film what with characters trying to hide identities and going on a lying spree. Sajid Khan also seems to have taken the slap stick humour bit quiet seriously what with so many slaps happening within the film. A ‘slapathon’ sequence reminding of his Heyy Babyy takes place too. The film loses its tempo with the introduction of Jiah’s character. But thankfully gets it back right in the second half where Akshay and Ritesh’s histrionics to hide the truth from Arjun Rampal and Boman Irani.

To give Sajid due credit, he has created many rip roaringly funny situations that are further elevated by his actors. Amongst the most hilarious sequences are most of the scenes featuring Akshay and Ritesh together. They share terrific chemistry. The climax set in the Queen of England’s Buckingham Palace is a laugh riot (literally). The film is high on glamour quotient what with three attractive bodied heroines (Deepika, Lara and Jiah) parading in skimpy outfits most of the time.

Akshay Kumar is back in terrific form, evoking huge laughter with his poker faced humour. Ritesh Deshmukh is another great comic talent who often gets his timing right. Arjun Rampal suits the part and looks dapper. While Deepika looks sizzling hot, Lara manages to score over her in the comedy department. Jiah tries hard and ends up being just about passable. Boman Irani goes over the top as usual. Making a come back on screen after a long gap, Randhir Kapoor playing Jiah’s Sindhi dad doesn’t get much scope. Chunky Pandey is plain irritating playing Akhiri Pasta an Italian hotelier. His fake Italiano accent grates on your nerves.

Shankar Ehsaan Loy’s music perfectly syncs in with the mood of the film. Mika sung foot tapping number Apni To Jaise Taise featuring Jacqueline Fernandez is a sure shot chartbuster and is fun to watch on screen. The editing could have been tighter especially in the first half. Vikas Sivaraman’s camera work is good especially while capturing the Italy locales.

Finally, what makes Housefull a watchable film is the fact that it aims to entertain and succeeds in doing so irrespective of its negative points. Go watch Housefull if you seek pure no hassles entertainment.

Starring:
 Akshay Kumar, Arjun Rampal, Ritesh Deshmukh, Deepika Padukone, Lara Dutta, Jiah Khan, Boman Irani and Randhir Kapoor

Director: Sajid Khan

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Chase

                                                                                      
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Director Jagmohan Mundhra
Producer Dr. Anuuj J. Saxena
Starring Anuj Saxena, Udita Goswami, Samir Kochhar, Aditya Raj Kapoor, Tarina Patel, Rajesh Khattar, Shweta Menon, Sanjay Mishra, Caterina Murino, Mukesh Tyagi




A Dhoom clicks and you suddenly spot Hayabusas speeding away in every third Hindi movie. A RACE clicks and everyone wants to attempt a thriller, with twists-n-turns aplenty. Chase is no DHOOM, nor is it Race either, but there's a feeling of déjà vu nonetheless.

Chase begins with a high-octane chase and what follows are several twists-n-turns, before the jigsaw puzzle is solved. But the question is, does Chase provide those adrenaline-pumping moments? Nope, it doesn't! The problem is, the writing relies too heavily on the tried-n-tested stuff, which robs this thriller of those thrilling moments.


Final word? Chase is akin to soda. Opens with a lot of fizz, but falls flat thereafter!
Sohail [Anuuj Saxena] is a man on the run. DIG Ranveer [Rajesh Khattar] has vested interest in getting to the bottom of a murder in which Sohail is involved. Insp. Siddharth [Samir Kochhar] is the right hand of the DIG, who is monitoring Sohail's actions.

Enter Nupur [Udita Goswami], who is involved with Sohail closely. The other players of this chase are Surabhee [Tarina Patel], Sohail's love interest and industrialist Mr. Khanna [Aditya Raj Kapoor], for whom money is the solution of all problems. Also, there is Anthony D'Costa [Gulshan Grover], who is also in search for the truth.

The hunt for Sohail and search for truth takes us through the streets of Mumbai. The truth has the potential of blowing up the entire political system apart. Who is the victim and who is the criminal?

The sole aspect you carry home after watching Chase are the high-octane chase sequences, especially the one at the very start of the film. Otherwise, Chase harps on the age-old plot where an innocent man is framed for a murder he hasn't committed, the corrupt cops being hand-in-glove with an industrialist, an undercover cop who doubles up as a seductress and the journo-girlfriend who goes that extra mile to save her boyfriend. Besides, there's a Live sting operation, the mandatory songsand some steamy moments and a stylish video towards the end.

Director Jag Mundhra has shot a few sequences well, but the writing doesn't hold. The music is equally functional.

Anuuj tries too hard to act, but can't. Udita is credible, as always. Tarina Patel looks ill at ease. Gulshan Grover is wasted. Rajesh Khattar infuses life in his part. He's competent. Ditto for Samir Kochhar, who's equally confident. Aditya Raj Kapoor is quite good.

On the whole, Chase lacks face-value as well as merits. Besides, with an opposition like Housefull, Chase stands no chance.

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Kuchh Kariye





Years ago, my friends often shot amateur videos involving themselves on a handycam. Dancing on popular songs and mouthing the same lines that were popular then, the amateur videos would be played amongst friends during a chilled out evening or during one of those relaxed evenings. The laughter while watching the amateur videos still resonates in my ears.

Memories of those days flashed in front of my eyes as reel after reel of Kuchh Kariye unfolded. What happens when an amateur director, an amateur writer and a bunch of amateur actors join hands? It results in a film called Kuchh Kariye, which, very frankly, makes no sense at all.


Kuchh Kariye marks the debut of singer Sukhwinder Singh as an actor. As someone who has been an ardent admirer of his singing, I felt pained to see him cast in a film that has an apology of a script and non-existent direction. As for Sukhwinder's acting skills, the less said the better. He is expressionless, flaunts his physique like Salman Khan and wears garish outfits.

My sincere and humble advice to Sukhwinder is, stick to singing!

Sukhwinder, a musician, is in love with Shriya. They leave their hometown for better prospects. They meet Vikrum Kumar and Rufy Khan, who have also arrived in Mumbai to realise their dreams. They decide to make a film to bring about a change in society. But a terror attack changes everything.

It's difficult to categorise Kuchh Kariye in any particular genre. The story changes so rapidly and so haphazardly that you're clueless about the on-screen goings-on. In fact, not one department in the film is worth highlighting. The acting too touches a new low.

On the whole, Kuchh Kariye is a big yawn.


Directed by - Jagbir Dahiya

Starring
 - Sukhwinder Singh, Vikrum Kumar, Rufy Khan, Shriya, Khuahhish, Deepak Shirke, Mushtaq Khan ...

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Apartment



                                      Click here for photos




Suddenly, schizophrenia and memory loss seem to be the new flavours of the season. First Ghajini [memory loss], then Karthik Calling Karthik [schizophrenia], then Prince [memory loss], now Apartment talks of a schizophrenic who spells havoc in another woman's life.

Jag Mundhra comes up with a fairly taut thriller, which is absorbing in parts. Inspired by the Hollywood film Single White Female [Bridget Fonda, Jennifer Jason Leigh], the film has been adapted decently well to suit Indian sensibilities, but there's a hiccup. Neetu Chandra uses every predictable trick in the book to make Tanushree's life miserable. From poisoning Anupam Kher's cat to eyeing Tanushree's man, the stunts that she pulls off don't send a chill down your spine, which is very, very vital for a film that banks on terrifying moments to keep its audience hooked.


Yet, when compared to the content in the marketplace today, Apartment is at least watchable in parts.

Tanushree Dutta is an airhostess living in with her boyfriend Rohit Roy. They share a nice apartment and are befriended by their elderly neighbour Anupam Kher, a struggling poet and lyricist.

Tanushree is possessive and has issues with trust. When she mistakenly suspects her boyfriend to be unfaithful, she throws him out of the house, but soon realizes she can't afford the payment on the apartment on her own. On the advice of a fellow airhostess, she advertises for a tenant to share her apartment.

Enter Neetu Chandra, a modest small-town girl asking for accommodation. Very impressed by her simplicity and respectfulness, Tanushree believes she has found a perfect tenant. The two girls soon become close -- their camaraderie leads them to even become companions. Until things begin to go disastrously wrong.

Tanushree's seemingly normal life is thrown off gear. Is Neetu really as simple as she seems?

The best thing about Apartment is that it doesn't deviate from the main plot. It stays true to the story and the four principal characters in the film. But the writing isn't convincing in its post-interval portions. Neetu's past in Igatpuri is tame and lacks the dramatic high. Also, the plot tends to get predictable after a point and you actually know what's in store next. Besides, the chill factor is missing. Especially when Neetu becomes a killing machine. It just doesn't evoke any fear. Bappa Lahiri's music is functional.

Neetu is getting confident with every film. She uses her eyes to express the varied emotions. Tanushree carries her part effortlessly. Rohit doesn't get much scope. Anupam Kher is likable.

On the whole, Apartment is absorbing in parts. Wish the drama in the second half was more punch-packed. It would've only enhanced the impact!

Directed by
 - Jagmohan Mundhra

Starring
 - Rohit Roy, Tanushree Datta, Neetu Chandra, Anupam Kher, Bobby Darling, Mushtaq Khan


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