RAVI TEJA NEW TELUGU FILM DON SEENU WALLPAPERS
RAVI TEJA AND SHRIYA IN DON SEENU TELUGU MOVIE WALLPAPERS
Tuesday, 27 July 2010
Friday, 23 July 2010
KHATTA MEETHA MOVIE REVIEW
Cast : Akshay Kumar,Trisha Krishnan,Urvashi Sharma,Manoj JoshiMusic :Pritam,Shani
Cinematography : V. Manikandan
Editing : Arun Angamaly
Producers : Shree Ashtavinayak Cine Vision Ltd
Written by : Sreenivasan
Director : Priyadarshan
Distributed by: DreamWorld Searchlight Pictures
Release date: 23 July 2010
Rating :
Khatta Meetha Hindi movie Review:
south indian one of the top actress Trisha debut film in Bollywood seems to be not worked properly.
Story and Movie Analysis:
This film has a common man as its protagonist and talks about the corruption he resorts to, to adapt to a bureaucracy, which he believes he can’t change single-handedly. Pretty much like talented filmmaker Priyadarshan who gave us rare gems like Kaala Paani and Kanchivaram but has more often served us coal-tar cinema by acclimatizing himself to the tastelessness of Bollywood bureaucracy. And then he calls it Khatta Meetha . So Priyadarshan continues his ritual of remakes by revisiting his own 1989 film, Vellanakalude Nadu (starring Mohanlal and Shobana). The utmost upgrading he does to the two-decade old plot is by altering the Malayalam milieu to Marathi to which you can only say nanachi taang (to hell with).
The film opens with some civil contractors embroiled in a scam when the bridge they had constructed, collapses. But the bridge breakdown has little link to the plot which gives more room to accommodate Akshay Kumar and his antiques which invariably means loud performances, slapstick humour and chunks of commotion and chaos. Sachin Tichkule (Akshay Kumar) is a road contractor under heavy debt. He also has an extended joint family though the horde of half-baked characters has no significant role in the story.
A new municipal commissioner (Trisha) arrives in the area who happens to be Sachin’s ex-girlfriend. A flashback account of their boring college bonding and equally bland break-off is as much roadblock to the narrative as much as Sachin finds in his civil career-graph. A road-roller episode directly derived from the cult television series Malgudi Days (and more recently also seen in another TV series Lapataganj ) doesn’t smoothen the sketchy storytelling.
Suddenly when the director realizes that too much time has been exhausted in conveying too little, the screenplay is conveniently rushed. So the hero gives an incoherent speech on lack of love and compatibility amongst countrymen. You wonder why? Soon after, he confesses his love to the heroine to make way for a traditionally dressed song and dance routine. When things still don’t work, the filmmaker opts for the oldest cinematic clichés. The hero’s sister gets raped. The witness gets killed before reaching court. Hero and villain indulge in dishoom dishoom . Film ends but mediocrity prevails.
Khatta Meetha lacks wit and sarcasm and by no means can be termed as a political satire. Rather it’s a blatant and full-blown melodramatic tale of corruption that one has witnessed in zillion films before. The writing branches into too many subplots from politics, family, romance but seems disjoint rather than appearing multifaceted. The family characterizations of a powerless patriarch (Kulbhushan Kharbanda), scheming siblings and the ridiculed younger son protagonist (Akshay Kumar) are quite reminiscent of Anil Kapoor’s Saaheb (1985).
Artist Performance:
Akshay Kumar continues his buffoonery which is not much to speak about. Trisha has nothing notable to deliver in her Bollywood debut. None of the countless character artists are worth a mention.
Technical And Other Departments:
The Marathi nuances in dialogues seem forced. Arun Kumar’s loose editing often makes you lose the narrative. Sabu Cyril repeats his preset Priyadarshan-pattern art direction . Even the usually dependable V Manikandan’s camerawork is irritatingly inconsistent in the climax fight perhaps because he focuses more on capturing the banian brand for in-film placement . Also Pritam’s music fails to impress this time around.
Final View:
In the last scene of the film, Akshay Kumar casually comments, “ mujhe kuch waqt ke liye shanti chahiye ” (I need peace for sometime). He pretty much resonates the sentiments of audiences who have been seeing him repeat the same loud and caricatured characters in the name of comedy. Khatta Meetha ends up leaving a bad taste in your mouth. If your Are a die heart fan of akshay kumar and Trisha go and watch this film.
MARYADA RAMANNA MOVIE REVIEW
Film: Maryada Ramanna
Cast: Sunil, Saloni, Nagineedu, Brahmaji, Rao Ramesh, Supreet, Kanchi and others
Story: SS Kanchi
Music: M M Keeravani
Lyrics: Sirivennela, Anantha Sriram, Chaitanya Prasad
Cinematography: C RamPrasad
Art Director: Ravinder
Stylist: Rama Rajamouli
Editing: Kotagiri Venkateswara Rao
Action: Peter Hein
Produced by: Shobu Yarlagadda and Prasad Devineni
Screenplay and directed by: S S Rajamouli
Release date: July 23, 2010
Rating: 
Sunil as Hero in Maryada Ramanna Telugu Movie Review:
Comedian Sunil strikes again with his new film Maryda Ramanna. This time he bags a big hit. S.S rajamouli proved him self once again .
Story:
Ramu (Sunil) loses his father in faction feuds in a village in Rayalaseema, so his mother takes him away from Rayalaseema to save her son. He grows up in Hyderabad and after his mother’s death, he tries hard to meet ends. One day, he receives a notice from the village to claim 5 acres of land, so he boards a train to the village. On board, he meets a beautiful girl Aparna (Saloni) who happens to be daughter of Ramineedu (Nagineedu). Ramineedu has been waiting to kill Ramu for years, as Ramu’s father killed Ramineedu’s brother. Aparna and Ramu become friends and Ramu comes to her house, there he learns that Ramineedu would kill him off he steps out of this house. Rest of drama is all about how Ramu saves his life.
Artist Performance:
Sunil: We have always seen Sunil doing slap-stick comedy with into-your-face antics in his past movies. He is completely fresh and acted like a normal actor in Maryada Ramanna. He gave a natural and controlled performance. It is tough job and Sunil perfectly executes it. His dances are amazing in two songs and his body language during dances resembles that of Chiranjeevi.
Others: Saloni is refreshing in this movie. She is pretty good. Dubbing done by Sowmya is excellent. New actor Nagineedu impresses with his looks, voice and acting. Brahmaji gets another interesting character in this film after Athadu and Ek Niranjan. Supreet is nice. Rao Ramesh and Kanchi are loud in the movie (may be character demanded it). Anuj Gurwara (Panchadara bomma singer) acted in a small role. A special mention should be given for Ravi Teja who gave voiceover to Sunil’s cycle.
Others: Saloni is refreshing in this movie. She is pretty good. Dubbing done by Sowmya is excellent. New actor Nagineedu impresses with his looks, voice and acting. Brahmaji gets another interesting character in this film after Athadu and Ek Niranjan. Supreet is nice. Rao Ramesh and Kanchi are loud in the movie (may be character demanded it). Anuj Gurwara (Panchadara bomma singer) acted in a small role. A special mention should be given for Ravi Teja who gave voiceover to Sunil’s cycle.
Technical departments:
Story - screenplay - direction: Story of the movie is simple and wafer-thin. It needs tremendous skills to pen screenplay for this story. Rajamouli comes up with a fabulous job in screenplay department. 70% of the movie takes place in a house. Hero wants to stay in house as villain wants him out of the house. There are three points of view in the story and Rajamouli clearly establishes the situation and plays around with these these points of view. The usage of cycle thread and sketch book thread is also impact-making. The progression in second half might appear slow because of the nature of the story. The director made sure that there is something in climax to make this movie worthwhile. Direction of the film is good. But, Rajamouli couldn’t get some of the scenes right in the movie (example: Kanchi comedy episode in train). The change of heart for Brahmaji also appears forced.
Music:
Story - screenplay - direction: Story of the movie is simple and wafer-thin. It needs tremendous skills to pen screenplay for this story. Rajamouli comes up with a fabulous job in screenplay department. 70% of the movie takes place in a house. Hero wants to stay in house as villain wants him out of the house. There are three points of view in the story and Rajamouli clearly establishes the situation and plays around with these these points of view. The usage of cycle thread and sketch book thread is also impact-making. The progression in second half might appear slow because of the nature of the story. The director made sure that there is something in climax to make this movie worthwhile. Direction of the film is good. But, Rajamouli couldn’t get some of the scenes right in the movie (example: Kanchi comedy episode in train). The change of heart for Brahmaji also appears forced.
Music:
I should give 50% of the credit for the feel in the movie to the music and back ground score. The flashback scene in the beginning of film would have been routine and boring but for the bit song composed by Keeravani. All songs in this movie are good. Keeravani used words in the background score to get the desired impact.
Other departments:
Other departments:
Dialogues by Kanchi are neat. Cinematography by Ram Prasad is very good. Sunil never looked so handsome in his earlier movies. The house set constructed by art director Ravinder is excellent. Choreography is excellent. CG work is neat (especially fireflies). Editing is fine. Proper care was taken for costumes and styling by Rama in order to make the artists look natural.
Analysis :
Three cheers to director Rajamouli, the top director of commercial entertainers in Tollywood. With Maryada Rammanna, he proves once again that he is capable of creating magic with any script or any star or non-star. Although Maryada Ramanna is complete departure from his style of films, starring a comedian as lead hero, he weaves a drama that glues the audiences to the seats without distraction. At 2 hours 10 Minutes, the film interests you till the last minute with focused narration. Near to one hour, the film runs revolves around a single house and yet you don’t feel bored. There Rajamouli triumphs completely as director and screenplay writer. Although there is not much entertainment or comedy, the narration holds the interest and puts you on guessing game how would the hero come out from the tricky position he is in and saves his life.
It is entirely Rajamouli’s film. You don’t find double meaning dialogues and excessive gore (although there is plenty of action and swords, fights, chases). Rather Rajamouli focuses on the suspense and tense moments. With some good songs by Keeravani and superb background score, the director turns the simple story into an engrossing movie.
As a narrator, what Rajamouli does best is not deviating from the plot and not inserting unnecessary comedy track by other comedians. He should be commended for it.
However, Maryada Ramanna is not devoid of minor flaws. It lacks comedy, the supposed comedy on Sunil and his antics, with bicycle talking is not that funny. And doesn’t have any awe-inspiring moments that we regularly find in Rajamouli’s movies. Other than those, Marayada Ramanna is clean fun and good fast-paced entertainer.
Three cheers to director Rajamouli, the top director of commercial entertainers in Tollywood. With Maryada Rammanna, he proves once again that he is capable of creating magic with any script or any star or non-star. Although Maryada Ramanna is complete departure from his style of films, starring a comedian as lead hero, he weaves a drama that glues the audiences to the seats without distraction. At 2 hours 10 Minutes, the film interests you till the last minute with focused narration. Near to one hour, the film runs revolves around a single house and yet you don’t feel bored. There Rajamouli triumphs completely as director and screenplay writer. Although there is not much entertainment or comedy, the narration holds the interest and puts you on guessing game how would the hero come out from the tricky position he is in and saves his life.
It is entirely Rajamouli’s film. You don’t find double meaning dialogues and excessive gore (although there is plenty of action and swords, fights, chases). Rather Rajamouli focuses on the suspense and tense moments. With some good songs by Keeravani and superb background score, the director turns the simple story into an engrossing movie.
As a narrator, what Rajamouli does best is not deviating from the plot and not inserting unnecessary comedy track by other comedians. He should be commended for it.
However, Maryada Ramanna is not devoid of minor flaws. It lacks comedy, the supposed comedy on Sunil and his antics, with bicycle talking is not that funny. And doesn’t have any awe-inspiring moments that we regularly find in Rajamouli’s movies. Other than those, Marayada Ramanna is clean fun and good fast-paced entertainer.
Final View:
Marayada RamannaThe film’s basic plot is taken from Our Hospitality (1923), a Hollywood silent movie. But they adopted it so effectively. its a good Entertaining and fast paced film. good film watch this weekend with your family.
Thursday, 22 July 2010
AISHA MOVIE WALLPAPERS
SONAM KAPOOR IN AISHA MOVIE WALLPAPERS
ABHAY DEOL AND SONAM KAPOOR IN AISHA HINDI MOVIE HIGH QUALITY WALLPAPERS
Monday, 19 July 2010
MARYADA RAMANNA MOVIE WALLPAPERS
SUNIL AND SALONI IN MARAYADA RAMANNA TELUGU MOVIE WALLPAPERS
RAJAMOULI NEW FILM MARYADA RAMANNA TELUGU MOVIE HIGH QUALITY DESKTOP WALLPAPERS
RAJAMOULI NEW FILM MARYADA RAMANNA TELUGU MOVIE HIGH QUALITY DESKTOP WALLPAPERS
Monday, 12 July 2010
KOMARAM PULI MP3 SONGS DOWNLOADS
KOMARAM PULI - PAWAN KALYAN(2010)
Cast :: Pawan Kalyan & Nikisha Patel
Music :: A.R.Rahman
Director :: SJ.Surya
Producer :: Singanamala Ramesh
PAWAN KALYAN'S KOMARAM PULI TELUGU MP3 SONGS FREE DOWNLOAD:
01 - Power Star
Singers : Vijay Prakash, Tanvi Shah
02 - Amma Thale
Singers : Naresh Iyer, Swetha Mohan
03 - Maaralente
Singers : A. R. Rahman and KMMC Choir
04 - Maham Maye
Singers : Javed Ali, Suchitra
05 - Dochey
Singers : Shreya Ghoshal, Lady Kash 'N' Krissy
06 - Namakame
Singers : Chitra, Madhushree, Harini
Download Link 320kbps : MediaFireDownload Link 128Kbps : MediaFire
Click Below To Download KOMARAM PULI All Songs [320KBPS] [51 MB]
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Friday, 9 July 2010
MILENGE MILENGE MOVIE REVIEW
Cast:Shahid Kapoor,Kareena Kapoor,Aarti Chhabria,Delnaaz Paul,Satish ShaDirector : Satish Kaushik
Produced : Boney Kapoor
Written by : Shiraz Ahmed
Music : Himesh Reshammiya
Release date:9 July 2010.
Rating : 
Milenge Milenge Hindi Movie Review:
Story and Movie Analysis:
The lead pair of the film is isolated for years and suddenly wants to find each other frantically without having any contact details of the other. Had there been a similar scenario in the current context they could have effortlessly found out each other through social networking websites. In that sense, this film delayed by almost half a decade appears unbelievable.
Amit (Shahid Kapoor) and Priya (Kareena Kapoor) meet at a Youth festival in Bangkok. The attraction is instant and they spend days together cavorting around Bangkok City together. At the end of the festival when they are preparing to come back to Delhi, Amit loses Priya’s trust and she decides to end the relationship. Amit tries to regain her trust by telling her that are destined to be together and Priya decides that if it is fate that they should be together, they will find each other Delhi again, Although both do not know each other’s whereabouts in Delhi.
Years go by and both of them are about to be married, but each still has this nagging feeling that the other was his/her one true love. Of course fate conspires to bring them back together (after about a dozen very interesting near misses) as they each simultaneously undertake one last attempt to find one another just before they get married to someone else.
So is all of life pre determined, even who our soul mate is? That's the theme explored in Milenge Milenge , a delightful fairytale of a romantic comedy that makes you fall in love all over again
This time Satish Kaushik doesn’t seek inspiration from his regular South territory but opts to remake the Hollywood film Serendipity (2001). The continuous attempts of the couple to find each other in the second half also reminds of Boney Kapoor’s earlier film Sirf Tum .
Artist Performance:
Both Kareena Kapoor and Shahid Kapoor are earnest and their chemistry is credible. But why do every other character artist from Satish Shah to Delnaz Paul end up hamming. Panini Rajkumar (Rajkumar’s younger son) is plastic personified. Aarti Chhabria and Sarfaraz Khan lack screen presence.
Technical and Other Departments:
Music is Ok and the songs are good. screenplay and other technical features are not bad so far in the film.
Final View:
Watch it only if you are just interested to see Kareena when the term size zero wasn’t coined. Else Milenge Milenge doesn’t score much above zero.
Tuesday, 6 July 2010
MARYADA RAMANNA MP3 SONGS DOWNLOADS
Maryada Ramanna - Sunil(2010)
Cast :: Sunil,Saloni
Music :: M.M Keeravani
Director :: S.S Rajamouli
Producer :: Prasad Devineni,Shobhu Yarlagadda
Banner :: Arka Media Works
MARYADA RAMANNA Telugu Mp3 Songs Download Here :
- Ammai Kitiki Pakkana - Karunya,Chaitra
- Udyogam Poyindi - Ranjith
- Telugammai - M.M.Keeravani,Geetha Madhuri
- Raye Raye - Raghu Kunche,Geetha Madhuri
- Parugulu Teeyi - Baalu gaaru
Download All Songs as Single File Click Here
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Saturday, 3 July 2010
YAMUDU MOVIE REVIEW
Movie Name : Yamudu`Banner : BIG Pictures/Studio Green
Casting : Suriya, Anushka, Prakash Raj, Vivek, Manoramma, Vijayakumar, Radha Ravi, Nasser, Sumithra, Yuvarani, Nizhagal Ravi and Others
Music : Devi Sri Prasad
Cinematography : Priyan
Producer : K E Gnanavel Raja
Director : Hari
Release Date:02 Jul, 2010
Rating : 
YAMUDU TELUGU MOVIE REVIEW:
Story:
A typical masala treat, the story is set on the backdrop of Rajolu town in the East Godavari district. Here lives the family of Narasimha (suriya). He wants to run his family business of provision store and make it a big supermarket. However, Simha's father (radha ravi) has other plans and he dreams of seeing his son as a cop. Narasimha fulfills his dad's wishes and becomes an SI. He is tough, honest and straightforward. Story takes a turn with the arrival of Purushottam (prakashraj) and his brother Vaikuntam (aadhi) from Vizag. A sequence of events makes Purushottam to sign at Rajolu PS everyday. This gets him to Narasimha and the rift begins. There is also Kavya (anushka) the love of Narasimha. What happens from there forms the rest of the story.
Artist Performance:
Suriya was the complete show stealer again with his looks and body language, he is unbeatable. Anushka was awesome hot and she made her presence felt strongly despite Suriya's invasion. Radha Ravi was apt, Prakashraj was fabulous, Aadhi was okay, Vivek delivered the required humor, Nasser was natural, Vijaykumar was standard, the others did their bit as required.
Suriya was the complete show stealer again with his looks and body language, he is unbeatable. Anushka was awesome hot and she made her presence felt strongly despite Suriya's invasion. Radha Ravi was apt, Prakashraj was fabulous, Aadhi was okay, Vivek delivered the required humor, Nasser was natural, Vijaykumar was standard, the others did their bit as required.
Technical and Other Departments:
The director has come up with a typical formula tale and both the presentation and narrative are effective. The dialogues were punch filled, the script was well written and the screenplay was excellent. Background score added to the moods and two songs were good. Cinematography captured the speed well and editing was crisp. Costumes were apt and the art department was natural.
Analysis:
The film doesn't offer any variety or experiment but then it manages to engage the audience despite following a beaten track. This is due to the combination of very good technical values along with power packed performances. While the first half is about the elements of romance, comedy and sentiment, the second half is filled with action and the racy climax. Overall, this would appeal to the masses in a very big way and it will be a commercial success at the box office.
Final View:
It's a Pure masala treat, racy and entertaining for commercial audience. It is a Good film to Watch This Weekend.
Friday, 2 July 2010
I HATE LOVE STORYS MOVIE REVIEW
Cast: Imran Khan, Sonam Kapoor, Samir Soni, Bruna Abdullah, Aamir Ali, Kavin Dave, Pooja GhaiDirector: Punit Malhotra
Producer: Karan Johar,C. Ashwini Dutt
Music : Vishal-Shekhar
Cinematography : Ayananka Bose
Distributed by :Dharma Productions,UTV Motion Pictures
Budget Rs. 20 million[citation needed]
Release date:2 July 2010.
Rating:
I Hate Luv Storys Hindi Movie Review:
You will not hate this love story, a spoof on ace director Karan Johar from his own production house. Hats off to Karan for daring to produce a film that makes fun of his kind of cinema. Samir Soni steps into his shoes with great ease in the film. Director Punit Malhotra takes a pot shot at everything - designer sets, boy meets girl sagas, actresses singing in chiffon saris in the Alps - that made directors like Karan, Aditya Chopra and Kunal Kohli a name to reckon with in the industry.
Story:
In terms of content, nothing is new. But the treatment is fresh, the backdrop is interesting and it's fun watching the romance brew between the lead pair Simran and Jay on the sets of a movie. Yes, the film is about the making of a love story where Simran works as an art designer and Jay as an assistant to highly successful director Vir Kapoor (Samir), known for his candy floss romantic sagas.Well Coming Into StoryI Hate Luv Storys’ main lead character, J (Imran Khan) tries to poke fun of all the mush and romance ideas that generate from Bollywood. Ironically, working with Bollywood’s King of mush, filmmaker Veer Kapoor, he barely manages to keep a straight face about all that’s happening around him. A complete opposite of J, Simran (Sonam) joins Veer Kapoor’s production as a set designer. As expected clashes take place between the two but eventually they end up becoming good friends. Gradually she ends up falling for, Mr. Wrong at the risk of dumping her loyal perfect Mr. Right Raj (Sammir). J rebuffs her. Hurt, she tries to get over her fixation for J and decides to concentrate on her relationship with Raj. But by then J has fallen head over heels in love with Simran and wants her back. How he tries to use all the tricks from the clichéd Bollywood references and much more to woo Simran back, forms the rest of the film.
Artist Performance:
The performances at best can be termed earnest. At no point do Imran Khan and Sonam Kapoor disappoint but at no point do they make an impression beyond expectation. Imran Khan continues to exert his distinct lip movements while speaking but you get used to it in due course. Sonam brings a refreshing appeal to her sugar-sweet character. Kavin Dave as Jai’s colleague-cum-companion has impeccable comic timing and is hilarious with his straight-faced expressions. Sammir Dattani is supposed to play a bore and he does just that getting no scope. Sameer Soni as the eccentric and traditional filmmaker is amusing. Bruna Abdullah enchants with her sex-appeal in her short part. Aamir Ali has his moments and Pooja Ghai looks sexy while revisiting sari-clad scenes of Rani Mukherji and Aishwarya Rai.
Technical And Other Departments:
Technically the film scores in all departments from Vishal-Shekar’s peppy score, Ayananka Bose’s colourful cinematography, Aki Ali’s crisp editing to Bosco-Ceasar’s cool choreography. Salim-Sulaiman’s background score and Manish Malhotra’s costume designs aren’t much demanding since they derive heavily from all the romance flicks that are spoofed here.
Analysis:
Boy hates mushy love stories, doesn’t believe in love and all those things that come along with it whereas the girl is a big believer in romance and is living her own perfect love story with a childhood pal. Boy meets this girl and don’t get along but eventually love strikes!
First for the girl but the boy rejects it explaining that he only thought of her as a friend. Soon love strikes him too but by then it is too late. He tries to woo her back and ends up doing all those mushy things that he hated in the first place.
Punit Malhotra’s debut directorial venture, I Hate Luv Storys works well when it tries to poke fun at these elements but eventually falls in the same clichéd trap when it comes to delivering as a film.
I Hate Luv Storys’ main lead character, J (Imran Khan) tries to poke fun of all the mush and romance ideas that generate from Bollywood. Ironically, working with Bollywood’s King of mush, filmmaker Veer Kapoor, he barely manages to keep a straight face about all that’s happening around him.
A complete opposite of J, Simran (Sonam) joins Veer Kapoor’s production as a set designer. As expected clashes take place between the two but eventually they end up becoming good friends.
Gradually she ends up falling for, Mr. Wrong at the risk of dumping her loyal perfect Mr. Right Raj (Sammir). J rebuffs her. Hurt, she tries to get over her fixation for J and decides to concentrate on her relationship with Raj.
But by then J has fallen head over heels in love with Simran and wants her back. How he tries to use all the tricks from the clichéd Bollywood references and much more to woo Simran back, forms the rest of the film.
First timer, Punit delivers big when it comes to giving the film a fresh treatment in terms of narrative and style and laces it with some extremely laugh out loud one liners. But as a writer, he falls short of offering anything new when it comes to the script.
Agreed, it tries to take a funny look at the romance seen through the typical eyes of Bollywood, by doing a parody of sorts on filmmakers.
He includes his own producer Karan Johar, Sanjay Leela Bhansali and even Aditya Chopra in it but one fails to understand why Punit doesn’t give a new perspective about the same in his own film given the resources he had in hand.
The jovial first half has its moments but the second half tends to drag, especially since you can predict well in advance how and where it is all heading. But, full marks to his actors including the periphery ones, who keep it rocking with their perfect acts.
First for the girl but the boy rejects it explaining that he only thought of her as a friend. Soon love strikes him too but by then it is too late. He tries to woo her back and ends up doing all those mushy things that he hated in the first place.
Punit Malhotra’s debut directorial venture, I Hate Luv Storys works well when it tries to poke fun at these elements but eventually falls in the same clichéd trap when it comes to delivering as a film.
I Hate Luv Storys’ main lead character, J (Imran Khan) tries to poke fun of all the mush and romance ideas that generate from Bollywood. Ironically, working with Bollywood’s King of mush, filmmaker Veer Kapoor, he barely manages to keep a straight face about all that’s happening around him.
A complete opposite of J, Simran (Sonam) joins Veer Kapoor’s production as a set designer. As expected clashes take place between the two but eventually they end up becoming good friends.
Gradually she ends up falling for, Mr. Wrong at the risk of dumping her loyal perfect Mr. Right Raj (Sammir). J rebuffs her. Hurt, she tries to get over her fixation for J and decides to concentrate on her relationship with Raj.
But by then J has fallen head over heels in love with Simran and wants her back. How he tries to use all the tricks from the clichéd Bollywood references and much more to woo Simran back, forms the rest of the film.
First timer, Punit delivers big when it comes to giving the film a fresh treatment in terms of narrative and style and laces it with some extremely laugh out loud one liners. But as a writer, he falls short of offering anything new when it comes to the script.
Agreed, it tries to take a funny look at the romance seen through the typical eyes of Bollywood, by doing a parody of sorts on filmmakers.
He includes his own producer Karan Johar, Sanjay Leela Bhansali and even Aditya Chopra in it but one fails to understand why Punit doesn’t give a new perspective about the same in his own film given the resources he had in hand.
The jovial first half has its moments but the second half tends to drag, especially since you can predict well in advance how and where it is all heading. But, full marks to his actors including the periphery ones, who keep it rocking with their perfect acts.
Final View:
As much as it spoofs candyfloss clichés like rain-drenched sequences, drunken scenes, red roses and an airport climax, I Hate LUV Storys resorts to each of them turning out into yet another love story. So if you hate love stories, this one’s certainly not for you. I hate such (clichéd) love stories. It is a Below Average Film. There is nothing new in this Film.
KHATTA MEETHA MOVIE WALLPAPERS
AKSHAY KUMAR AND TRISHA IN KHATTA MEETHA HINDI MOVIE WALLPAPERS
TRISHA DEBUT FILM IN HINDI KHATTA MEETA WALLPAPERS
JHUMMANDI NAADAM MOVIE REVIEW
Film: Jhummandi NaadamCast: Manchu Manoj, Tapsee, Mohan Babu, Tanikella Bharani, Sudha, Suman, Pragathi, Brahmanandam, M S Narayana, Raghubabu and others
Story: Bhupathi Raja
Music: M M Keeravani
Dialogues: Rajasimha
Cinematography: S Gopal Reddy
Screenplay: BVS Ravi, Gopimohan
Produced by: Lakshmi Prasanna
Director: K Raghavendra Rao
Release Date: July 1, 2010
Rating:
Release Date: July 1, 2010
Rating:
JHUMMANDI NAADAM TELUGU MOVIE REVIEW:
story:
A stale tale, the story begins with Balu (manoj) whose goal is to become a great singer, he also takes an oath never to go back to his hometown unless he achieves his goal. He stays along with his friends but has trouble in the form of his neighbour, Captain Rao (mohan Babu). Both of them share usual rivalry and try to get smart with each other. Things change when Rao's friend's daughter Shravya (tapsee) arrives from US. She wants to do a documentary on the traditional Telugu folk songs and wants a music guide. Balu enters the scene and love happens along with documentary. However, Rao hatches a plan and tries to separate both. What happens from there forms the rest of the story.
Artist Performance:
Manchu Manoj always exudes high energy and he shines in this film too although his characterization is not that pretty novel. He even excels in scenes involving his father veteran actor Mohan Babu. But he needs to show off consistency in portraying the role till the end. On his part, Mohan Babu does underplay to make his son to steal the show. Tapsee, the new girl, has shown all her vital assets to please the audiences but doesn’t have any material to become a fine actress. The less said about her facial expressions and acting abilities the better. All other actors - Tanikella, Sudha, Suman, Pragathi, and host of other comedians, have done okay job. Ahuthi Prasad does villain role.
Technical and Other Departments:
The basic story given by Bhupati Raja is simple. K Raghavendra Rao handled this simple story in a simplistic way by including adequate commercial elements so that it reaches everybody. Screenplay of the movie is adequate. K Raghavendra Rao proves that there is no retirement for creativity and age never becomes a disadvantage while dealing with romantic subjects. He has shown the heroine Tapsee in the most glamorous way. He also made sure that there is something in the film for A/B/C center audiences. There are a few old-fashioned scenes for the sake of commercial elements. But they are minimal and they don’t disturb the flow of the narration. There is trademark of K Raghavendra Rao in songs picturization of the movie.
Other departments: Music by MM Keeravani is good and background music is also handled well. I rate the 3rd song (shot in Kerala) as the best song in the movie. The last song (desamante Mattikadoi) is the life of the movie. All songs are picturized colourfully. Cinematography by S Gopal Reddy is very good. However, he should have shot stunt sequences in a better way. Dialogues by Rajasimha are good. Editing by Marthand K Venkatesh is smooth. Art direction by Raghu is neat. Production values by debutant producer Lakshmi Manchu are very good with rich visuals.
Other departments: Music by MM Keeravani is good and background music is also handled well. I rate the 3rd song (shot in Kerala) as the best song in the movie. The last song (desamante Mattikadoi) is the life of the movie. All songs are picturized colourfully. Cinematography by S Gopal Reddy is very good. However, he should have shot stunt sequences in a better way. Dialogues by Rajasimha are good. Editing by Marthand K Venkatesh is smooth. Art direction by Raghu is neat. Production values by debutant producer Lakshmi Manchu are very good with rich visuals.
Analysis:
First half of the movie is nice. Tempo goes down in the second half a bit. The climax song makes it up for all. Plus points of the film are main leads (Manoj’s comedy and Tapsee’s glamour) and K Raghavendra Rao’s commercial elements coupled with attractive music/visuals. On the flip side, old-fashioned story might not be liked by urbane crowds. On a whole, Jhummandi Naadam is a film that has something for every kind of audience (A, B or C). It is a K Raghavendra Rao's masala entertainer that has all ingredients do well at box office.
Final View:
Jhummandi Naadam has nothing new to offer except some mellifluous numbers and eye-catching ‘glamour’ here and there. It is predictable stuff and old wine in old bottle. It Is a below Average Film.
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