تدور أحداث الفيلم حول ثلاثة طلبة جامعيين التحقوا بالدراسة بالكلية الهندسية الملكية بنيو دلهي، إحدى أفضل جامعات الهندسة في الهند، وهم رانشو (عامر خان)، وراجو (شرمان جوشي)، وفرحان (مادهافان) الذي أجبره والده على دراسة الهندسة رغم أنه يحب التصوير. وراجو يدرس الهندسة ليتمكن من إعالة عائلته الفقيرة جداً، أما رانشو فهو من عائلة ثرية وذكي ويحب الهندسة وصنع الأشياء ويدرس بالجامعة ليتعلم أكثر ما يحب، ويأخذ الأمور ببساطة. يتعرف الثلاثة على الطالب تشاتور (أومي فيديا) الذي يدرس دون أن يفهم شيئاً ويحفظ كل موادِّه، تحصل بينهم مشاحنات، فيتعاهدون أن يعودوا بعد عشر سنوات من تخرجهم ليروا من منهم الأكثر نجاحاً، رغم الضغوطات التي تعرضوا لها من مدير الجامعة فيرو (بومان إيراني) الملقب بفايروس، علماً أن رانشو (عامر خان) يقع بحب ابنته بيا (كارينا كابور). تمضي أحداث الفيلم في إطار كوميدي ينتقد أساليب التعليم والضغوطات التي يتعرض لها الطالب في الهند باتباع طرق تعليمية تقليدية.
The moviestarts offevolved with a wildfire raging via a Northern California forest. People are stranded in their cars, roads are clogged, chaos and fear are swirling round
with the smoke. The soundtrack for this emergency situation? Mark
Ronson and Bruno Mars’ “Uptown Funk,” the perky and ubiquitous birthday party anthem from some years again. Maybe the filmmakers had been taking the “Call the police and the fireman” section of the song’s lyrics literally. Whatever the reason, it’s a bizarre choice, howeversimplestthe first in a chain of many.
Director Andy Fickman, whose previous high-concept comedies include “You Again,” “Parental Guidance” and his piece de resistance, “Paul Blart: Mall Cop 2,” has slapped together a sequence of wacky antics with little challenge for continuity, good judgment or pacing. I stored asking myself questions like: “How did that canine get there?” “Where did Judy Greer get that sweater?” “How did they paint that ‘My Little Pony’ mural so fast?” and “What occurred to Keegan-Michael Key? He changed intostatus there a 2nd ago.” Just to present you an ideaof the way the filmtargets to attraction to the widest feasibletarget audience with its broad emblem of humor, it functionsan excellent ratio of poop jokes to John Cena shirtless scenes. I counted.
“Playing With Fire” tries to be tasteless and crass howeveradditionally treacly and cheery. It wants to you go: “Ewwww …,” howeveralso: “Awwww ...” You’re much more likely to groan, then observe your watch again.
trailer
Cena stars as a by-the-book firefighter named Jake Carson, who leads his group of smokejumpers into harm’s waywhen flames threaten the rugged wildlands of Northern California. (A side note: It turned intoalso a strange revel in seeing this filmwhilea great deal of the state changed into burning in reality.) The fastidious Mark (Key), the sensitive Rodrigo (John Leguizamo) and the mute, burly Axe (Tyler Mane) are his co-workers. (Mane, Cena’s fellow former wrestler, performs a character with that name because he … contains an axe.) When a fireplace breaks out at a cabin and the group swoops in to put out the flames, Jake finds a trio of siblings trapped inside: responsibleyoungster
Brynn (Brianna Hildebrand), impish little brother Will (Christian
Convery) and the tiny, wide-eyed moppet Zoe (Finley Rose Slater).
The scene is a highinstance of the awkward ways in which Fickman, operating from a script by way of Matt Lieberman and Dan Ewen, will nonsensically yank us out of a second for a reasonably-priced laugh. In the middle of a supposedly disturbing rescue, Jake and the youngsters have a petty argument about semantics before Jake gets hoisted returnedas much as the helicopter too quickly in a misunderstanding with pilot Rodrigo. (Actually, he receives slammed as much as the ceiling. Cena also falls on his face a lot. It’s in no way even good for a chuckle.)
Anyway, the entirefactor is to get the childrenback to the fire depot, a pristine and orderly workplace where they can wreak havoc in loads of ways. And due to the fact Jake can’t get a preservein their parents, he’s stuck looking after them for a long way longer than he’d hoped. You see, Jake has no time in his life or room in his heart for different people—not even the scientist (Greer) doing researchnearby who has a weigh down on him. He is all approximately the work. Nonetheless, madcap hijinks ensue involving paint thinner, cleaning soap suds and, yes, poop. There’s one bit regarding projectile diarrhea and a defensive firefighting match that defies the laws of physics; I’m still trying to determine out the way it makes feel logistically. Then there’s the scene in which Jake has to alleviate himself outdoors, with the youngest sibling – a little woman who’s maybe 4 years old – statuswithout delay in front of him and holding his head in vicinity to ensure that he maintains eye contact with her the entire time. It is as uncomfortable because it sounds.
From there, it’s a dizzying, 180-degree develop into feel-accurate territory, with Mark rhapsodizing about the important, courageouswork smokejumpers do and Jake ultimately letting his guard down and turning into a warm, doting father figure to these youngsterswhile they want it the most. Cena has enjoyably toyed along with his beefy photograph in numerous comedies, including “Trainwreck” and “Blockers,” however he has nothing to paintings with here. An even extra egregious offense is the way “Playing With Fire” wastes the ever-dependable Greer (with whom Cena has notan ounce of chemistry) and the hugelyflexible Key. He receives the one absolutelyhumorous line in thefilm—a comic story that simplest adults within theaudience will understand—and is the only reason this is a half-celebrity review instead of zero.
Don’t accept as true with me? Just watch. Or higher yet, don’t.
The Legend of the White Snake” is a well-known Chinese folk tale that originated in the Ming dynasty. Its newest adaptation, the animation function “White Snake,” which capabilities a Disney-esque damsel-in-misery treatment, is a prequel, set 500 years before the principle story.
The heroine, Blanca, a snake spirit who can appear in woman form, loses her memory of her serpentine pastwhile she is injured even astrying to assassinate an evil general who's harvesting snakes to benefit immortality.
She is rescued through Xuan (Yang Tianxiang), a friendly snake-catcher, of all things, with a pet dog; they assist Blanca piece collectively her identity, which well-knownshows itself in grand reptile form. Demons and humans cannot be collectively romantically, and Xuan has a worry of snakes that has averted him from doing his job. Still, the two, predictably, fall in love, with Xuan proving he's brave enoughto break the taboo.
The forbidden romance has its will-they-or-won’t-they thrills, however this first featureby means of the administrators Amp Wong and Ji Zhao, turns into a basket of tangled snakes while Blanca faces far
too many obstacles, including — deep breath — her sister, the evil
general, the queenly Snake Master and a pipe-smoking fox demon.
trailer
It can be too complicated and risqué for more youthful viewers, in spite of its fairy-story love and canine sidekick who can talk. (This comicrelief isn’t very funny.) And in basic terms on the level of spectacle, the film’s landscapeshotsappearance breathtakingly real, butanimated figures, especially during fight scenes, are tripped up by means of a dimension-pulling down veneer that makes “White Snake” lookextra like an iPhone game.
White Snake
Not rated. In Mandarin with subtitles; also to be had dubbed in English. Running time: 1 hour 39 minutes.
A disclaimer for Taylor Swift fanaticswho've stumbled upon this review: I am agnostic on Taylor Swift. I’m no longer for her or in opposition to her. I’m passingly familiaralong with her music, howeverbeyond that I didn’t recognize much about her origins, her career, or her public character. If you’re like me on this regard, you’ll still discover Lana Wilson‘s documentary Miss Americana a fascinating watch as it makes use of Swift’s story to explore a pop icon’s political awakening and her complicateddating with repute. There’s nothing here to make new Swift fanatics or alternate the reviews of her haters, however that’s form of the point of the documentary: to dismiss the audience in desire of examiningthe relationshipbetween a womanceleb and her followers, and howrepute can show to be a personal prison till you figure out how to take manage of your narrative even it means losing reputation.
The documentary begins with Swift doing some songwriting with her cat also gambling the keys (her cat almost steals the show) earlier thantransferring into Swift getting to know she acquired no predominant Grammy nominations for her 2018 album Reputation. This flippresents the frame for the whole movie, which is the tale of a female who primarily based her wholecareer on making strangers satisfied having to learn what will make her satisfieddespite the fact thatit maydisappointed some lovers. Wilson then charts Swift’s meteoric upward thrust with how repute and her public personastored forcing her into dark places. Swift knows that her emblem is “the nice girl”, and that exceptionalgirls don’t make waves or make humanssense uncomfortable. And but even gambling the fine girl, her draw close on reputation remained tenuous as she becomes embroiled in media controversies over her dating life, her authenticity, and her demeanor. Seemingly confronted with a no-win situation, Swift fights to wrest back manageby means ofexamining what’s truly vital to her
MISS AMERICANA Trailer
What’s surprisingapproximately Miss Americana is how little of the documentary is set her music. Sure, there’s lots of behind-the-scenes photos of Swift operating on her songs and being on stage, but the documentary isn’t interested byenticing with a criticalassessment of her pop songs or why Swift has succeeded in whichother singer-songwriters have failed, which is fine. I’m no longer particularly interested by a movie that’s looking toconvince its target market why Taylor Swift’s music is idealas it’s clean that Swift feels in her zone when she’s simplyrunning. For Swift and for Miss Americana, the drama is in Swift wrestling together with her public persona and what it approach to be a united states of america-pop big name who’s been famoussince she became a teenager.
The documentary gives Swift the floor to mention her peace on conversations about her weight, her love life, and what her public needs. What makes Swift a charming central parent is that she’s so articulate and self-aware of her reputation as a public determine, and but that cognizanceturned out to be a double-edged sword. Swift if not some file label product who can’t assume for herself. The problem, as Swift is aware of, is that part of her enchantment is being an apolitical “great girl”, and any authenticity must be filtered through the toxic mores of what our society demands from ladieswithin the public sphere. She is aware ofwhich you don’t risethrough the ranks of u . S . A . music with the aid of telling human beings what they don’t want to hear, but what occurswhen you needto talkaboutgreater than breakup songs?
Miss Americana turns intoelectric powered in its very last act as Swift sooner or later reaches a political awakening. While I’m not going to lie and say I’m indifferent closer to Swift sharing political views just like my own (pro-gay rights, pro-renewing the Violence Against Women Act), although they weren’t, it’s cleanto look Swift seeking to thread the needle of reinvention at the same time as voicing political reviewsso that it willabsolutely lose her fans who don’t believe her beliefs. The movie notes how the Dixie Chicks were receivedwhen they spoke out in opposition to George W. Bush in 2003 and the blowback they persisted from united statesenthusiasts. Swift is a long waygreatercautious in crafting her message, but she’s willing to say it nonetheless.
Swift’s recognition of her public personalityand how she’s perceived gives Miss Americana a low-hum of photograph management, which in flip makes you query the authenticity of Swift. But the second one you start on foot down the street of “Is Swift authentic or not?” you’ve hit a dead-end as it does no longer matter. Some might also argue that Swift’s perceived authenticity is crucial to her profession and her art, however I’d counter (to borrow a line from Miller’s Crossing) no personis aware of anybody, no longer that well. To make a judgment on whether a person you’ll in no way meet is “proper” or not is a fool’s errand, and I become bewildered via the headlines that were moreconcerned with Swift’s character than her music.
Miss-americana-taylor-swift-1
Detractors might alsofactor out that Miss Americana is Swift’s wayof getting her cake and eating it too. She receivesto control her narrative in a favorable documentary that upholds her persona as an introspective artist, but swats down absolutely everyone who interrogates that character. For someone like me who has no investment in that character one manner or the different, I locate the documentary refreshing as a bigger take at the perils of ladyrepute. Is the politically-woke Taylor Swift of Miss Americana just another “reinvention” to hold her career alive? Perhaps, howeverI actually have no cause to no longer take Swift at her worddue to the fact I, and I assume anyonereading this, are strangers to her. We’re no longer her family. We’re not her friends. At most, we may befans, and for maximum of her career, Swift determined that the approval of thosefans, those strangers, turned into paramount. That became a prison, and it’s encouraging to peer Swift smash free.
There’s a scene from Richard Fleischer’s 1967 Dr. Dolittle that sees Rex Harrison’s fluent-in-animal physician kiss a seal, who'scarrying a reject Little Women costume, then unceremoniously chuck the animal off a cliff. If not quite as brazen, there are equally bonkers moments and choiceswithin themodernvariation of Hugh Lofting’s loved children’s story (bagpipes pulled out of a dragon’s anus, for starters). Directed via Stephen Gaghan, the filmmaker who brought us such firm own family favourites as Traffic (writer) and Syriana (writer-director), Dolittle isn't always the Cats-degree catastrophe (cats-astrophe?) the US opinions suggested, but it’s straight away too frenetic but underpowered, leaving you unsatisfied by way of the obligatory post credit gag.
It begins decently enough. An lively prologue info Dolittle’s background, adventuring with his explorer wife before she is killed tragically at sea. Cut to the down-and-out physician and there issome familiar howeverhigh-quality Wallace and Gromit gadget-y stuff related to getting Dolittle dressed and fed. But, when the adventuring begins, the film’s troubles mount up. The huge set-pieces — a giraffe versus police chase, a sailingship battle, Dolittle taking on a tiger voiced via Ralph Fiennes — don’t generate pleasure and the stakes of the story appear to decrease as the journeyis going on. Gaghan’s filmmaking is clumsy, authentic verve replaced via OTT digital camera shots, levity and a laugh dissipated by way of a leaden tone
.
He menagerie of CG animals come at you much quicker than the plot. The all-megastar voice solid is huge — from Emma Thompson (a wise parrot) and Rami Malek (a nervy gorilla) to Tom Holland (a myopic mutt) and Selena Gomez (a bland giraffe) — however, despite the fact that Dolittle healing procedures all their ailmentsall through the adventure, few of them take up residence inside the memory. The moviein no waydefinitely makes you trustthese animals exist inside the space. This has not anything to do with VFX (a few dodgy compositing aside, the animation is strong) and the whole lot to do with the blocking off and cutting.
There are some pleasures. Michael Sheen, because the Queen’s evil doctor who pursues Dolittle to forestall him him finding the antidote from a magic tree, plies a pleasant line in sarcasm and threatens to present the movie energy, while some of the incidental jokes — a paranoid squirrel, a funny womanbird gag — land. But it’s not sufficient to atone for the film’s failings. Downey Jr’s central performance lacks the required charming idiosyncrasies — he by no meansunearthseither Dolittle’s spirit or pain — with an accessory that starts offevolved in Wales butregularlyis going on vacation. Yet perhaps the film’s maximum baffling choice lies in casting Jessie Buckley, one in all the mostinterestingyounger actors within theworld today, as Queen Victoria and letting her sleep through the entire run time. It seems there are a fewmatters as crazy as throwing a seal off a cliff.
Eddie Murphy’s Dr. Dolittle generated 4 sequels. On this showing, Downey Jr’s may be a standalone, an uncynical howeverin general lacklustre kids’ flick that doesn’t discover its voice, animal or otherwise.
What do you name it when a lady tells a lie for another girl, when they percentage a common
dream now not for themselves, however the other girls in their own family, and together combateachimpediment that comes in their way? We call it an inspiring tale of girls empowerment. Saand Ki Aankh is just that with a tinge of Bollywood masala and drama. Taapsee Pannu and Bhumi Pednekar play elderly sharpshooters Prakashi Tomar and Chandro Tomar, who fought patriarchy to make a name for themselves inside theglobal of shooting.
Directed by means of Tushar Hiranandani, the storyis ready in Johri village of Baghpat district in Uttar Pradesh, however is fantastically influenced through the way of life of Haryana. Here, ladiesaren't allowed to step out of their houses to earn money. Despite doing all the family chores, taking care of children and working in thesubject and brick kiln, they may be called 'useless' via the guys of the family, who're mostly visible idling around, smoking hookah. For the guys here, their women are mere child-making machines who have been married off by using their households to do the men's paintings. It is clearwhile the headman of the Tomar extended family Rattan Singh Tomar, played via Prakash Jha, says, "Mhaare ghar ki chhoriyaan aage na jaave hai, dusro ke ghar jaave hai (The women in our own familydon't go in advance and succeed, but are married off to another domestic)." A sharp U-Turn from the alternative oft-quoted Bollywood dialogue: "Mhaare chhoriyaan chhoro se kam hai ke?"
An educated adolescents from the village, played by Mukkabaaz actor Vineet Kumar Singh, returns to his home to paintings for the upliftment of his human beings. To discourage kids of his village from gunning down humans and finishing up in jail, and as a substituteutilising their talent in a productive manner, he starts a shooting range. Chandro Tomar receives to understandshooting can help her granddaughter secure a governmentprocess. She attempts to make her granddaughter be part of the academy and finally ends up enrolling herself. Seeing her sister-in-law and her granddaughter learn shooting, Prakashi Tomar takes her daughter Seema to enroll in the academy, and all four girls of the Tomar residencebegin their education in capturing.
Under the ruse of going to temples and attending satsangs, Prakashi and Chandro participate in competitions and win several medals. But they don't have the courage to inform their husbands about their achievements.
Prakash Jha because the egotistic headman of the own family is convincing. With his matured and balanced performing, he makes you hate men who suppress girlsin thename of own family values and culture. Vineet Kumar Singh, like always, lives up to the expectations. He is neither an excessive amount of nor too less, but brings simply the properquantity of sincerity his position of the Shooter Dadis' train required.
The leading girls of Saand Ki Aankh, Taapsee Pannu and Bhumi Pednekar, must be applauded for taking up the mission of portraying ladiessome distance older than their age. While they do a tremendoustask on their part, as far as acting is concerned, they're still now not as convincing as their male counterparts, who play the roles of guyswho are the same age. The prosthetics and make-up come upon as *make-up* and do notpretty make you accept as true with that these women are 60 years old.
Cinematographer Sudhakar Reddy Yakkanti does an excellentprocess of capturing the essence of the hinterland the taleis set in. One unique scene wherein Chandro Tomar brings her granddaughter to learn capturing is intelligently shot. The digital camera catches the two ladiescoming into the gates inside thereflection on a motorcycle side-replicate, after which pans to show the coachwithin thesamemirror. Director Tushar Hiranandani manages to squeeze out nicepaintings from his actors.
Watch Saand Ki Aankh trailer here
Saand Ki Aankh is an emotional roller-coaster experiencethat is inspiring, and at the identical time disturbing, because it compels you to think about the pathetic condition of ladies in our free and current India. The movie will make you think about the ladies in your lifestyles and their sacrifices for their families. It may make guysquestion themselves if they're being an impediment inside theway of ladies's success. It will also helpwomen introspect and see if they may be being the moral and physicalguide their girl tribe needs.
Saand Ki Aankh is a pleasingown familywatch for the Diwali weekend. Take your main ladies along. If possible, add your khadoos taus and uncles of your own family to that list, to expose them
نبذة مختصرة :
تدور أحداث الفيلم في الثلاثينات ، عن شاب محترف في الاحتيال يحاول
الانتقام لموت شريكه بتكوين فريق لعملية نصب كبيرة للاستيلاء على ثروة مجرم مصرفي .الفلم مليئ بالاحدات المشوقة التي ستجعلك تتابع الفلم الى النهاية.
Nueve reinas 2000
التقييم : 7.8/10
فيلم الدراما الأرجنتينية من تأليف وإخراج فابيان بيلينسكي وبطولة ريكاردو دارين
نبذة مختصرة : فيلم ارجنتيني عن إثنان من محترفي الاحتيال يحاولون النصب على احد هواة
جمع الطوابع عن طريق بيعه نسخه مزيفة من طوابع (الملكات التسع) النادرة .
لكن نهاية الفلم خيالية ستصدمكم كونوا متاكدين Catch Me If You Can 2004
التقييم : 7.7/10 هو فيلم جريمة وسيرة ذاتية أمريكيّ من إنتاج سنة 2002 وإخراج ستيفن سبيلبرغ وبطولة ليوناردو دي كابريو وتوم هانكس. وكريستوفر. تَلقّى الفيلم إشادة إيجابيّة من النُقّاد ورُشِحَ لنيل جائزتي أوسكار و22 ترشيحاً نال منها 13 جائزة نبذة مختصرة : الفيلم مبنيّ على قصةٍ حقيقيةٍ وهي قصّةُ فرانك أباغنيل ( ليوناردو ديكابريو ) الذي زوّر شيكاتٍ ومِهَن وشهادات وعَمِلَ بها قبل بلوغه التاسعة عشر، مما دفع مكتب التحقيقات الفيدرالي لملاحقته برئاسة كارل هانرتي( توم هانكس ) . House of Games 1987
التقييم : 7.4/10
House of Games هو فيلم أميركي عام 1987 السرقة و النصب و الإثارة من إخراج ديفيد ماميت. كما كتب السيناريو ، بناءً على قصة شارك في كتابتها مع جوناثان كاتز. يشمل طاقم الفيلم ليندساي كروس ،جو مانتيجنا ، ريكي جاي ، وجي تيوالش. نبذة مختصرة : طبيبة نفسانية تحاول علاج احد المقامرين الذي يجرها الى عالم القمار والنصب والمحتالين .الامر الدي جعلها تتعرض لعملية نصب رهيبة . لتتواصل احدات الفلم في محاولتها للبحت عن الانتقام Matchstick Men 2003
التقييم : 7.4/10 Matchstick Menهو فيلم اتارة وتشويق تم إنتاجه في الولايات المتحدة سنة 2003.الفيلم قائم على رواية تحمل نفس الاسم تم اصدراها عام 2002 من تأليف اريك جارسيا. الفيلم من إخراج ريدلي سكوت و بطولة نيكولاس كيج و سام روكويل و أليسون لوهمان نبذة مختصرة :حياة محترف الاجتيال ( نيكولاس كاج ) الدي سوف تتغير مع وصول ابنته المراهقة اليه . تدور أحداث الفيلم حول نصابٍ محتالٍ يدعي روي (نيكولاس كيج)
وشريكه فرانك، الذان يواصلان النصب على الأشخاص الغافلين بطرقٍ ذكيةٍ
وفنيةٍ جداً، ومن جهة أخرى، حياة روي الخاصة فاشلةٌ جداً، ويفاجأ بأن ابنته
تبحث عنه لتعيش معه بعيداً عن والدتها القاسية لتجد الحنان والحب
والاحتواء عند والدها، فيجد والدها بأن لديها مشاكلاً وأفكاراً كثيرةً،
تعرف ابنته بأن والدها محتالٌ وتريد مساعدته في ذلك ولكنه يرفض في بداية
الأمر خوفاً عليها ولصغر سنها، ولكنها تشاركه في إحدى المهام ويجدها ماهرةً
في ذلك ، وتبدأ علاقتهما في التحسن وإرتباط، ويقرر روي لاحقاً الابتعاد عن
مهنة النصب والإحتيال وأن يجد عملاً بناءً على طلب ابنته، وبالفعل يستغني
روي عن تلك المهنة، ليجد عملاً بسيطاً يبدأ به حياةً جديدةً مع ابنته. ولكن
تحدث مفاجأةٌ كبيرةٌ في نهاية الفيلم.
هناك طبعا المزيد من الافلام الرائعة التي لم نقم بدكرها اليوم متل سلسلة افلام اوشن Ocean's و افلام اخرى عديدة سنتطرق لها في مواضيع مستقلة بادن الله.
