Showing posts with label Movie Review. Show all posts
Showing posts with label Movie Review. Show all posts
Thursday, July 12, 2012
Billa 2 - Scarface 1983 Movie Review
Scarface is a 1983 American crime film directed by Brian De Palma, written by Oliver Stone, produced by Martin Bregman and starring Al Pacino as Tony Montana. A contemporary remake of the original 1932 film of the same name, the film tells the story of Tony Montana, a Cuban refugee who comes to Miami in 1980 as a result of the Mariel Boatlift, and becomes a drug cartel kingpin during the cocaine boom of the 1980s. The movie chronicles his rise to the top of Miami's cocaine empire. The film is dedicated to Howard Hawks and Ben Hecht, the director and principal screenwriter of the original 1932 film, respectively.
The initial critical response to Scarface was mixed garnering criticism for excessive violence and graphic language. The Cuban community in Miami objected to the film's portrayal of Cubans as criminals and drug traffickers. The film has since gathered a cult following and become an important cultural icon, inspiring posters, clothing, and other references. The film's grainy black and white poster has become an often parodied icon.
The remake of Scarface is a sprawling crime saga that follows the betrayal and loss that a single man endures; it is a coked-up version of The Godfather and The Godfather Part II without a family to feel sympathy for. So who better to carry the torch of crime into the decadent 1980s than Michael Corleone himself, Al Pacino? Pacino plays Tony Montana, a foul-mouthed and short-tempered Cuban refugee who, with the help of a fellow refugee (Steven Bauer), exits a dead-end life from the holding camps in Miami and his days as a pit-stop dishwasher to the universe of international drug empires. Through a big-time dealer (Robert Loggia) who sees promise in the newly emigrated Montana, he begins a rapid rise to power as a ruthless drug lord whose ego, paranoia, and lined up enemies threaten to end it all. During this rise, he ever-so-rudely woos the big boss’ moll (Michelle Pheiffer) and protects his baby sister (Mary Elizabeth Mastrantonio) from any man who looks in her direction.
Scarface is told in three acts that detail Montana’s ascension into paradise, his stay in the heavens (mostly Miami), and his eventual descent from grace. At a whopping 170 minutes, the film never outstays its welcome because each act is told at a steady pace on its own. The opening act is deliberate so that the young Cuban’s future may feel even more uncertain. The middle act shows Montana reveling in his new way of life and taking the actions that could eventually lead to his downfall. The final act reaches moments of such absurdity it can only be purposeful. In an over-the-top scene clearly saved for the finale, Montana sniffs cocaine from a man-made mountain of the product on his desk. Because he lives a life of limitless excess, his character would naturally be taken into the stratosphere of the inane towards the climax. When you are this insane, the only place to go is up. Or down.
The view of this vast empire of drug dealings is no different than that of a carefully choreographed political picture. Every character is part of a web of lies and deceit who try to mask it with a wide smile and promise of a better tomorrow. At the same time that these promises are made, careful diversions are calculated by each character to advance themselves. This mirror of a political organization comes from screenwriter Oliver Stone, who treats these empires with the same respect as a legitimate government. No character is passed off as heroic, but several (primarily Montana) try to get across that they are not the only villains in the world. Their only problem is that they have trouble masking it in a world dominated by legitimate villains: politicians, bankers, etc.
Pacino, though, is the one whose excess brings Scarface to a different level of praise as an instant cult classic. With a lisp-y, jaw-protruded Cuban accent (that I have been told is not particularly accurate), Pacino renders even the most dramatic scenes practically laughable. His wildly over-the-top monstrosity is so hotheaded it could very well fuel a battle between The Academy and The Razzies. He creates a character that is a liar, but with morals. Conniving, but with a sense of loyalty. His traits contradict one another so frequently that it should come as no surprise to the viewer that Montana becomes his own worst enemy.
Aspects of the character feel like an amalgam of the young Vito Corleone and Pacino’s own Michael Corleone in the Godfather films. Like young Vito (played by Robert DeNiro in Godfather II), Montana is an immigrant who escapes the tyranny of his homeland to pursue his dreams in America. Though their motivations differ, they come to power very quickly. How they use that power parallels the younger Corleone and Tony. The viciousness here is uncontrolled and unhidden. Michael Corleone was a well-intentioned youth who was forced into a business to avenge an assassination attempt on his father. But as the business seduced him with its wealth of power, he grew obsessed with loyalty to his family and his actions (even against his own brother and sister) lead only to his solitude. As in the original Godfather, Tony takes a reluctant blonde along for the ride, and for his actions, his family (specifically, his younger sister) hate every bone in his greedy body. Scarface produces a story that can entrance you with its riches as it did to Tony. It should remind you that while crime doesn’t pay, it can still make you rich.
http://www.youtube.com/watch?v=8SHCIvUhjkM
The initial critical response to Scarface was mixed garnering criticism for excessive violence and graphic language. The Cuban community in Miami objected to the film's portrayal of Cubans as criminals and drug traffickers. The film has since gathered a cult following and become an important cultural icon, inspiring posters, clothing, and other references. The film's grainy black and white poster has become an often parodied icon.
The remake of Scarface is a sprawling crime saga that follows the betrayal and loss that a single man endures; it is a coked-up version of The Godfather and The Godfather Part II without a family to feel sympathy for. So who better to carry the torch of crime into the decadent 1980s than Michael Corleone himself, Al Pacino? Pacino plays Tony Montana, a foul-mouthed and short-tempered Cuban refugee who, with the help of a fellow refugee (Steven Bauer), exits a dead-end life from the holding camps in Miami and his days as a pit-stop dishwasher to the universe of international drug empires. Through a big-time dealer (Robert Loggia) who sees promise in the newly emigrated Montana, he begins a rapid rise to power as a ruthless drug lord whose ego, paranoia, and lined up enemies threaten to end it all. During this rise, he ever-so-rudely woos the big boss’ moll (Michelle Pheiffer) and protects his baby sister (Mary Elizabeth Mastrantonio) from any man who looks in her direction.
Scarface is told in three acts that detail Montana’s ascension into paradise, his stay in the heavens (mostly Miami), and his eventual descent from grace. At a whopping 170 minutes, the film never outstays its welcome because each act is told at a steady pace on its own. The opening act is deliberate so that the young Cuban’s future may feel even more uncertain. The middle act shows Montana reveling in his new way of life and taking the actions that could eventually lead to his downfall. The final act reaches moments of such absurdity it can only be purposeful. In an over-the-top scene clearly saved for the finale, Montana sniffs cocaine from a man-made mountain of the product on his desk. Because he lives a life of limitless excess, his character would naturally be taken into the stratosphere of the inane towards the climax. When you are this insane, the only place to go is up. Or down.
The view of this vast empire of drug dealings is no different than that of a carefully choreographed political picture. Every character is part of a web of lies and deceit who try to mask it with a wide smile and promise of a better tomorrow. At the same time that these promises are made, careful diversions are calculated by each character to advance themselves. This mirror of a political organization comes from screenwriter Oliver Stone, who treats these empires with the same respect as a legitimate government. No character is passed off as heroic, but several (primarily Montana) try to get across that they are not the only villains in the world. Their only problem is that they have trouble masking it in a world dominated by legitimate villains: politicians, bankers, etc.
Pacino, though, is the one whose excess brings Scarface to a different level of praise as an instant cult classic. With a lisp-y, jaw-protruded Cuban accent (that I have been told is not particularly accurate), Pacino renders even the most dramatic scenes practically laughable. His wildly over-the-top monstrosity is so hotheaded it could very well fuel a battle between The Academy and The Razzies. He creates a character that is a liar, but with morals. Conniving, but with a sense of loyalty. His traits contradict one another so frequently that it should come as no surprise to the viewer that Montana becomes his own worst enemy.
Aspects of the character feel like an amalgam of the young Vito Corleone and Pacino’s own Michael Corleone in the Godfather films. Like young Vito (played by Robert DeNiro in Godfather II), Montana is an immigrant who escapes the tyranny of his homeland to pursue his dreams in America. Though their motivations differ, they come to power very quickly. How they use that power parallels the younger Corleone and Tony. The viciousness here is uncontrolled and unhidden. Michael Corleone was a well-intentioned youth who was forced into a business to avenge an assassination attempt on his father. But as the business seduced him with its wealth of power, he grew obsessed with loyalty to his family and his actions (even against his own brother and sister) lead only to his solitude. As in the original Godfather, Tony takes a reluctant blonde along for the ride, and for his actions, his family (specifically, his younger sister) hate every bone in his greedy body. Scarface produces a story that can entrance you with its riches as it did to Tony. It should remind you that while crime doesn’t pay, it can still make you rich.
http://www.youtube.com/watch?v=8SHCIvUhjkM
Friday, August 12, 2011
rowthiram Review | rowthiram Movie Review | rowthiramTamil Movie Review Jeeva Movie rowthiram Review
rowthiram Review | rowthiram Movie Review | rowthiramTamil Movie Review Jeeva Movie rowthiram Review
Movie Name : Rowthiram
Year : 2011
Cast : Jeeva, Shriya Saran, Prakash Raj, Chaitanya Krishna, Jayaprakash...
Music Director : Prakash Nikki
Producer : RB Choudry
Director : Gokul
Banner : Super Good Films
Label : Star Music
The problem with most Tamil debutant directors trying to ape trend-setters like Mani Ratnam, Sasikumar, Gautam Menon, etc. is that they faithfully imitate the production values, but end up messing up the characterisations and storyline. And when the end product is also supposed to be an old-fashioned masala in a new tetra-pack, even the fact that the hero is someone who can actually act, can't save it. This is pretty much the problem that afflicts Super Good Films' Rowthiram (Fury), written and directed by Gokul.
On the face of it, formula films like this have worked, either because of the superior characterisations, sharp dialogues or just the right mixture of spice. Rowthiram tries very hard, and in the beginning, it actually does intrigue you.
You've got a snazzy flashback sequence that begins in the Kanyakumari district, as an old man (Prakashraj) beats up an entire bunch of wrong-doers with his bare fists. His grandson stands by, watching and grows up learning and becoming an expert in martial arts (although there's no explanation as to why exactly his grandfather advocates it).
Cut to the present, and you have Shiva (Jiiva), all grown-up, free of his grandfather's tutelage and living with his parents (Jayaprakash and Lakshmi Ramakrishna), his brother (Srinath) and sister. The first hour is an interesting mix of comedy, gentleness, and the camaraderie between the family members is heart-warming.
Soon, a pretty heroine is thrown into the mix: Priya (Shreya Saran), a law student (who, conveniently, is seen in college only once) watches Shiva beat up bad guys and immediately decides that he's her man! Shiva, of course, plays the strong, silent hero, mostly brooding. Even his voice is unnecessarily deep, the dialogues uttered with breaks and pauses. This isn't necessarily bad but the problem arrives when you're introduced to the bad guys.
There is such a plethora of evil henchmen, goons, and generally tousle-haired ruffians, starting with the much-vaunted Ganesh Acharya, that you spend most of the time trying to understand which gang is after whom, who wields the most power and who is offing which rowdy.
At some point, practically every thug in Chennai is after Shiva, and despite having an impressive array of arms, all choose to attack him either bare-handed or with sickles, at the most. Naturally, Shiva the Superman bashes them all into smithereens.
Jiiva, as the man of few words who harbours deep emotions, has obviously found the part easy; his acting credentials make sure that even such a one-sided character keeps you moderately interested. After a certain point, though, it descends into tedium.
But it's Jayaprakash who walks away with the honours, as the doting father who is afraid of his son, and for him.
Shreya Saran has nothing to do but prance in salwars in the movie, and in skimpy dresses in duets. The rest of the cast, Ganesh Acharya included, are all more or less part of the sidelines, as it's Jiiva who stands tall.
Of Prakash Nikki's songs, Maalai Mangum Neram (with lyrics by Thamarai) lingers, while N Shanmugasundaram's cinematography fulfills whatever is required of a slick, masala film. The editing, however, fails spectacularly: the movie goes on and on for almost three hours. Plenty of chopping could have been done.
It's the meandering script, the trite dialogues and one-dimensional characters that wreck the pace. Add to that enormous plot-holes, and you have general mayhem. The audience begins hooting at every tragic scene.
Rowthiram is just another mindless action masala, which is more torture than fury.
Thursday, August 11, 2011
Patta Patti Movie Review and Patta Patti Mp3 download
Patta Patti Movie Review patta patti 50 50 cinema review
and Patta Patti Mp3 download songs Potta Potti
நடிகர்கள்: ஆர் சிவம், ஹரிணி, சடகோபன் ரமேஷ், உமர், மயில்சாமி, அவதார் கணேஷ்
இசை: அருள்தேவ்
ஒளிப்பதிவு: கோபி அமர்நாத்
தயாரிப்பு: வி முரளிராமன்
இயக்கம்: யுவ்ராஜ்
லகான், சென்னை 28 என கிரிக்கெட்டை மையப்படுத்தி எடுக்கப்பட்டு வெற்றி கண்ட படங்களின் பாதிப்பில் வந்துள்ள படம் போட்டா போட்டி.
உப்பார்பட்டியில் கொடைவாணன் (சிவம்), கொலைவாணன் (உமர்) என இரண்டு பங்காளிகள். இருவரும் கீரியும் பாம்பும்போல. கொடைவாணன் 'பாடி ஸ்ட்ராங், பேஸ்மெண்ட் வீக்' ரகம். தமாஷ் பேர்வழி. கொலைவாணன் பெயருக்கு ஏற்ற மாதிரியே கொலை செய்யவும் தயங்காத ஆசாமி.
இந்த இருவருக்குமே ஆசை, மாமன் மகள் ரஞ்சிதத்தை (ஹரிணி) அடைவதுதான். ஆனால் அவளுக்கோ இந்த இருவரையுமே பிடிக்கவில்லை. ஒரு நாள் இருவருமே போட்டி போட்டுக் கொண்டு பெண் கேட்டுப் போகிறார்கள் மாமன் வீட்டுக்கு.
இந்த சிக்கலை சமாளிக்க, ஒரு கிரிக்கெட் போட்டி நடத்தி அதில் யார் ஜெயிக்கிறார்களோ அவர்களுக்குதான் ரஞ்சிதம் என ஊர் முடிவு பண்ணுகிறது. ஆனால் இருவருக்குமே கிரிக்கெட் அரிச்சுவடி கூட தெரியாது. எனவே ஆளுக்கு ஒரு கோச்சை அழைத்து வர முடிவு செய்கிறார்கள்.
இதில் கொடைவாணன் அணி சடகோபன் ரமேஷை கடத்தி வருகிறது. கொலைவாணன் அணி டுபாக்கூர் கோச் மயில்சாமியை மடக்கிப் பிடித்து வருகிறது.
கோச்சிங் என்ற பெயரில் ஏகப்பட்ட தமாஷ் நடக்கிறது. இதற்கிடையே, போட்டிக்கு காரணமான ரஞ்சிதா, கொடை- கொலைவாணன்களை விட்டுவிட்டு, சடகோபன் ரமேஷை லவ்வுகிறார். இறுதியில் யாருக்கு அவர் கிடைத்தார் என்பதை ஒரு முழு கிரிக்கெட் போட்டியை நடத்தி சொல்கிறார்கள்.
இடையில் அலயன்ஸ் என்ற நிறுவனத்தினர் அங்குள்ள கிரானைட் மலை ஒன்றை விலைபேச வருகிறார்கள். இவர்களிடமிருந்து மலையைக் காக்கப் போராடுகிறது கொடைவாணன் குழு.
லகான் பாதிப்புதான் படம் என்றாலும், அதை தமிழ் கிராமத்துக்கேற்ப மாற்றியிருக்கிறார் இயக்குநர். ஆனால் பட்டிதொட்டியெல்லாம் நீக்கமற உப்பார்பட்டியில் ஒருவருக்கு கூட தெரியாமல் போனதைத்தான் நம்ப முடியவில்லை!
அதேபோல தேவையே இல்லாமல் படத்தில் இடம்பெற்றுள்ள 'அவாள்' அரசியல் உள்குத்தை ஏற்க முடியவில்லை. தேசிய கிரிக்கெட்டில்தான் இந்த நிலை என்றால், சினிமாவில், அதுவும் ஒரு கிராமத்தில் நடப்பதாக வரும் கிரிக்கெட்டில் கூடவா... அட போங்கப்பா!
இயக்குநர் - இணை தயாரிப்பாளர் என்பதற்காக, இப்படியெல்லாம் தேவையே இல்லாமல் ஒரு பாடலுக்கு ஆட்டம் போட்டு பயமுறுத்தலாமா யுவராஜ்?
காத்திருந்தவன் பெண்டாட்டியை நேற்று வந்தவன் தட்டிக் கொண்டு போகும் கேரக்டர் சடகோபன் ரமேஷுக்கு. ஆனால் கிரிக்கெட்டை கோட்டைவிட்ட மாதிரியே நடிப்பிலும் அவர் அவுட். அவர் வசனம் பேசும்போது எரிச்சலாக உள்ளது. நல்ல வேளை, பாட்டு, டான்ஸ், பைட் என படுத்தாமல் விட்டார்(கள்)!
கொடைவாணனாக வரும் சிவம் கலக்கியிருக்கிறார். இந்த மண்ணின் மைந்தர்களை பிரதிபலிக்கும் முகம், தோற்றம், அல்டாப்பு குணம் என அப்படியே உப்பார்பட்டி ஆளாகவே மாறியிருக்கிறார்.
இவருக்கு எடுப்பாக வரும் அவதார் கணேஷ், 'ராசுக்குட்டி'யில் வரும் செம்புலியை நினைவூட்டுகிறார். மயில்சாமி இருக்க கலகலப்புக்கு பஞ்சமிருக்குமா... கோச் என்ற பெயரில் இவர் அடிக்கும் லூட்டி சரியான காமெடி.
நாயகி ஹரிணி ஓகே.
கோபி அமர்நாத்தின் ஒளிப்பதிவில் அசல் கிராமத்தைப் பார்க்க முடிகிறது. ஆனால் அருள்தேவின் இசை படத்தில் ஒன்ற விடாமல் தடுக்கிறது.
கடைசி காட்சி வரை படத்தை கலகலப்பாக கொண்டுபோன வரையில் இயக்குநருக்கு வெற்றிதான். வசனங்களில் புத்திசாலித்தனமும் கிராமத்து குறும்பும் கொப்பளிக்கிறது. ஆனால் இடைவேளைக்குப் பிறகு ஒரு முழு 50 ஓவர் மாட்ச் பார்த்த மாதிரி மகா இழுவை!
மற்றபடி... இரண்டரை மணி நேரத்தைக் கொல்ல சரியான படம்தான்!
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