'The Attacks of 26/11' Movie Review Latest News film updates Photos/Pics Ram Gopal Varma Ratings

'The Attacks of 26/11' Movie Review.'The Attacks of 26/11' Latest News.'The Attacks of 26/11' film updates.'The Attacks of 26/11' Photos. 'The Attacks of 26/11' Pics.'The Attacks of 26/11' Ram Gopal Varma.'The Attacks of 26/11' Ratings.'The Attacks of 26/11' Movie Updates.'The Attacks of 26/11' Movie Review in detail.

'The Attacks of 26/11' Tweet Review: First day, first show

Direction: Ram Gopal Varma

Actors: Nana Patekar, Sanjeev Jaiswal, Atul Kulkarni

Rating: 3.5/5

The good news is that The Attacks of 26/11 is one of the better films Ram Gopal Varma has made in recent years. The bad news is that Varma's last few films were duds like Department and Bhoot Returns so the bar is set very low.

In The Attacks of 26/11, Varma recreates Mumbai's tryst with terror on November 26, 2008 when ten men came over in a boat and laid siege to the city. More than 160 people died and over 300 were injured. It was one of the worst terrorist attacks on Indian soil.

Nana Patekar playing joint commissioner of police Rakesh Maria, narrates the events to an inquiry commission. He recounts the 60 hours of horror as young, brain-washed men walked casually around South Mumbai indiscriminately pumping bullets in to men women and children in the Taj hotel lobby, the Chhatrapati Shivaji Terminus, Leopold Cafe and other locations. The Mumbai police struggled valiantly. Eventually the NSG Commandos have to be called in.

This film tells us little that we don't already know. Like Kathryn Bigelow in Zero Dark Thirty, Varma is trying to give us boots-on-the-ground experience.

'The Attacks of 26/11'

But unlike Bigelow, he is unable to create a visceral feel or provide new insights. The action is broken by the commissioner's deposition to the inquiry commission, where half a dozen men sit impassively. Varma relies too much on bullets in slow motion and gore so we see a man's neck being sliced, another's brain exploding with a bullet and blood spread so thickly that people slip in it.

All of which is based in truth but the fact is that most of us have already been through this harrowing experience via live television coverage and at some point, you have to ask; what do I get in return for putting myself through this again? And the answer is not much.

In a few places, The Attacks of 26/11 is startling. The tragic absurdity of constables fighting heavily armed terrorists with stones and lathis hits you.

Nana Patekar, speaking with unduly affected pauses, has a few moments of power and eloquence, especially toward the end when he explains the real meaning of Islam.

But mostly, the film is plodding. Varma insists on bludgeoning background music and the terrorists remain faceless caricatures.

Even Ajmal Kasab, who is the only one fleshed out to some extent, is sketchy and simplistic.

The Attacks of 26/11 is a powerful subject watered down by ineffective story-telling. This could have and should have been so much more.

Star cast: Atul Kulkarni, Nana Patekar, Sanjeev Jaiswal, Ganesh Yadav

What’s Good: The cinematography, the lucid flow of the narration, all performances.

What’s Bad: The style of narration suits the news-mode more than the movie-mode.

Loo break: None.

Watch or Not?: For reliving the intensity of the attacks and this well retold narration, boasting of power packed performances by all, especially Nana Patekar, this one is definitely worth a watch.

It is not a story being told. Not an accident either. The Attacks Of 26/11 is the set of terror attacks that hit Mumbai on November 26, 2008 being produced into reel with some really appreciable cinematography and mentionable performances.

Some native fishermen trek in to the Arabian looking for a rare fish that is found only in deep water. After a while they realize they might have entered international waters, in this case, that of Pakistan. In the mean time they see a Pakistani trawler in distress. While the Indian fishermen try to find out what is wrong, they’re faced with the terrorists coercing them into helping the 10 terrorists to reach Mumbai. All fishermen are killed and dumped at sea by the time they reach a shabby Mumbai port.

'The Attacks of 26/11' Movie Pics

Here on begins the communication between the terrorists and the commoners. The 10 break into smaller groups and attack pre designed areas. The back grounds of the terrorists are not focused upon much as are the little details of the victims. There is often shown some moments of sanity and human considerations on the part of Ajmal Kasab, played by Sanjeev Jaiswal, which were suppressed without delay by his companion in the ruthless strikes.

The climax shows Kasab’s sentence to be hanged till death in action. Crude scenes of violence make the movie unsuitable for the feeble hearted. By the end of the movie the Joint Commissioner of Police, played by Nana Patekar, Mumbai, passes with distinction in the departmental scrutiny and goes to head the Anti Terrorism Squad.

The whole movie sees the Police in a very glorious light. And the attacks are being narrated by Nana Patekar, giving a concrete feel to the content. For the viewer, it is reliving the shame of religious

Nana Patekar (The Attacks of 26/11 Movie Stills)

The Attacks of 26/11 Review: Script Analysis

It is not much of a script. If you have been watching the news during and post- 26/11 attacks, you probably know it all. Even the case updates with regards to Ajmal Kasab will provide you much of the information that Nana Patekar goes on the reveal. So may be for a movie based on a highly spoken-about terrorist attack, The Attacks Of 26/11 fails to break any ice with the script. But keeping that in mind, the movie has a fresh feel that makes you want to sit through and view the very well sequenced script. Sunil Wadhwani does commendable work at editing.

The Attacks of 26/11 Review: Star Performances

We miss Atul Kulkarni, though it makes sense to say his performance was critically well placed. Nana Patekar, if we can ignore, at times, unwanted voice modulation, does an amazing job of playing the Joint Commissioner of Police to a city that did not even have time to recover from an attack before having to face another one of similar or higher magnitudes.  About Sanjeev  Jaiswal, his expressions are commendable though his lines only match them up pretty late into the film.

The Attacks of 26/11 Review: Direction, Music & Technical Aspects

'The Attacks of 26/11' Ram Gopal Varma

Director Ram Gopal Verma went to the scenes in November 2008 to do some 1st hand research. Well, we can see the effect. The film is well directed keeping in mind it put together a massive number of abstract characters. Cinematography however wins over anything else.  Harshraj Shroff and M. Ravichandran Thevar liven up the shades of the sky and the cityscape to explain the pathos in vivid visuals. Vikram Biswas worked pretty well keeping in mind the sound score of the movie set the theme of a psychological thriller (from the terrorists’ point of view ), in combination with that of an incidental narration.

The Attacks of 26/11 Review: The Last Word

We have seen it too many times, the quotes from the Holy religious texts being explained to the wrongdoer after the deed is done. We see it here again. That said, in the aftermath of the recent Hyderabad blasts; see this just to know the larger picture.

Complete Review:

When Ram Gopal Varma went to visit the site of one of the deadliest terrorist attacks in the history of Indian subcontinent, it was seen as a publicity gimmick from a filmmaker who was going through a rough patch, but Varma was serious about his recce.

The maverick director, who is known for films such as 'Satya', 'Company' and 'Sarkar', hasn't given good stories since many months, so he is under pressure to come up with a well crafted film in the form of 'The Attacks of 26/11', which is the dramatic reconstruction of the Mumbai terror attacks of 2008.

The film features Nana Patekar as the Joint Commissioner of Police while Atul Kulkarni will also be seen as an important character, however all eyes would be on Sanjeev Jaiswal who is playing the character of Ajmal Kasab. The recent death sentence of Kasab has increased the curiosity among the audiences.

Good or bad, RGV is known for his bold and unconventional approach towards filmmaking, so he is expected to throw a new light on the events of 26/11.

10:15 AM: #Attacksof2611 is directed by Ram Gopal Varma and is based on 2008 terror attacks of Mumbai.

10: 18 AM: #Attacksof2611 stars Nana Patekar, Atul Kulkarni and Sanjeev Jaiswal, who is playing Ajmal Kasab.

10: 25 AM: The recent hanging of Ajmal Kasab has increased the spectators' interest in #Attacksof2611.

10: 37 AM: RGV is expected to through a new light on the events of Mumbai terror attacks through #Attacksof2611. What do you think?

10: 50 AM: RGV has tried to give a glimpse of the world of terrorists in some of his earlier films but #Attacksof2611 directly deals with terrorism.

10: 54 AM: Is the film going to feature the docudrama style of filmmaking or will it be completely fictionalised? #Attacksof2611

11:00 AM: RGV's trademark camera angles are at play again. Let's hope for good performances. #Attacksof2611

11:07 AM: You can love or hate him but you can't ignore RGV. Unusual camera work would make this sure. #Attacksof2611

11:15 AM: The opening sequence brings a whole new world to the spotlight. The attacks were planned long ago. #Attacksof2621

11: 25 AM: Sanjeev Jaiswal looks just perfect in the role of Kasab. Metaphors are also working well. #Attacksof2611

11:28 AM: #Attacksof2611 is not for weak hearts. It needs courage to digest such a brutal depiction of terrorism.

11:33 AM: Religious and social paradoxes are portrayed well by RGV in #Attacksof2611. The film is very realistic.

11:35 AM: #Attacksof2611 is turning into a gripping tale. Nana Patekar is doing a fantastic job.

11:38 AM: The narration technique used in #Attacksof2611 is very effective. It generates strong and immediate emotions against terrorism.

11:40 AM: RGV is indeed a brave filmmaker. He has not kept anything in heart, everything is on the screen. #Atracksof2611

11:45 AM: Parallel narratives show the mammoth scale of the attacks in different spaces. #Attacksof2611

11:47 AM: RGV is not objective about violence this time. He has taken a stand in these visuals. #Attacksof2611

11:50 AM: #Attacksof2611 is high on emotions. The terror inside the human mind has been personified in Sanjeev Jaiswal.

11:52 AM: Everything from the strategy to the driving ideology has been focussed in #Attacksof2611 so far.

11: 55 AM: One may miss the proper foregrounding of #Attacksof2611 but the documentation of the events has been done well.

11: 57 AM: RGV is likely to face the similar questions about the depiction of brutality as Kathryn Bigelow, but #Attacksof2611 justifies his approach.

12:00 PM: So here it is. We were waiting for this only. The loud chanting in the background. #Attacksof2611

12:02 PM: Was it the lack of training on part of the police which made it easier for the terrorists? #Attacksof2611

12:05 PM: Clinical precision with which the #Attacksof2611 were done shows the amount of training that has been given to these terrorists.

12:07 PM: Such calm and composed terrorists can't be prepared without the help of resourceful external agencies. #Attacksof2611

12:10 PM: #Attacksof2611 are the blots on the prestige of intelligence agencies. It will remain one of their biggest failures.

12:15 PM: Had we reduced the reaction time, we could have saved a lot of lives. #Attacksof2611

12:17 PM: Kasab to police: Jahannum ki aag se bachna hai toh jihad karna hai. #Attacksof2611

12:20 PM: #Attacksof2611 has become a little dramatic. Kasab goes the Shakti Kapoor way.

12:22 PM: RGV has carefully avoided the parts where he needed to show the NSG operations. #Attacksof 2611

12:25 PM: The last thing the audience would like to see is an abrupt ending after such a good build up. #Attacksof2611

12:30 PM: Avoid controversy and be with the popular notion is RGV's mantra in #Attacksof2611.

12:35 PM: Nana Patekar has used a different mannerism in #Attacksof2611. It is given to Nana to make him emerge as the hero of the story.

12: 40 PM: The film reaches its last stage. The characters take dramatic pauses. #Attacksof2611

12:42 PM: #Attacksof2611 ends as per the expectations. A typical RGV finish.

12:47 PM: The first half of #Attacksof2611 is more engaging than the second half. RGV feels the social pressure in the second half.

12:50 PM: #Attacksof2611 is a good film because it shows the futility of jihad in a convincing way. It's disturbing though.

12:52 PM: The structure of #Attacksof2611 is something to watch out. It is linear but displays a wide range of emotions.

12:53 PM: Nana Patekar is forced to act like a Hindi film hero in the end but the actor makes it look natural. #Attacksof2611

12:54 PM: Sanjeev Jaiswal is average but his face will be recognised even after #Attacksof2611.

12:56 PM: Surprisingly, the camera doesn't act voyeuristic in #Attacksof2611. RGV doesn't go for ambitious shots either.

12:57 PM: #Attacksof2611 is a good watch this weekend. You will get to see the old RGV in many scenes.

1:00 PM: Thanks for being with us throughout the tweet review of #Attacksof2611. Stay tuned for more.

The Attacks of 26/11 is bloody but asks no tough questions

At around 8.30pm on Wednesday, 26th November 2008, fishermen at Mumbai’s Machhimaar Colony saw ten young men with large rucksack disembark from an inflatable Zodiac speedboat. An hour later, armed with hand grenades and automatic rifles, they had created terror across the city and grabbed the attention of the whole world. By midnight, over a hundred people, including three of Mumbai’s top cops, lay dead. It would be three days before the attacks of 26/11, as they came to be called, were brought to an end.

Filmmaker Ram Gopal Varma, who infamously managed to gain access to the Taj Hotelthe most well-known site of the Mumbai attacks a mere three days after, has now directed a film that recreates the events of that first fateful night. Varma’s terror-tourism may have been in shockingly bad taste, but as he has repeatedly said, his visit has had no role to play in the making of the film, which contains absolutely no actual footage and relies instead on the dramatic recreation of events.

A still from the film The Attack Of 26/11.

Varma’s last outing, Department(2012), was shockingly adulatory in its approach to its policemen protagonists: two encounter cops thoroughly corrupted by bloodlust and power. Graphic violence, of course, has long been the director’s forte, with its gratuitousness having peaked in recent years: whether he’s making a political drama likeRakthacharitra (2010) or a sex-crime thriller like Not a Love Story (2011). It should be no surprise, then, that The Attacks of 26/11 is both gratuitously violent and completely uncritical in its depiction of the police.

'The Attacks of 26/11' Movie updates 

In fact, Varma leaves absolutely no doubt as to where his affiliations lie: he tells the story not through the eyes of any of the hundreds of victims or survivors, but through those of the Joint Commissioner of Police (the real-life Rakesh Maria, here given a fictitous name and played by the dependably theatrical Nana Patekar). No matter that Maria was not actually witness to any of the events he is “describing” to an enraptured investigatory committee which, conveniently, never asks a single question, allowing Patekar to hold forth in a series of magisterial monologues, interrupted only when Varma shifts to showing us people dying, at Leopold Café, Chhatrapati Shivaji Terminus and the Taj Hotel. The Leopold segment offers up the bizarre frisson of reenactment, because Varma has managed to get the café’s actual owner Farhad Jehani to play himself during the shootout. This yields one memorable cinematic moment, when the havaldars outside pitch pebbles into the café to check if the terrorists are still there. But at the other sites all we get is the sight of merciless killing, with Varma either focusing on wounded bodies and crying babies or zooming in to the faces of the killers to show how much pleasure they seem to be taking in the act.

The unstintingly gory recreation of these tragic deaths seems especially a pity because Varma was once gifted enough as a filmmaker to be able to grip us without it. Even this film manages a few moments of soundless menace. The opening sequence, for instance, with the fishing boat Kuber tricked into stopping by another boat’s request for help, achieves a sinister sense of foreboding merely by showing the two boats scraping against each other, lashed by the waves. By the time the Kuber crew is tied up and its genial-looking lungi-clad captain forced, at gunpoint, to take the ten young gunmen on board his boat, we are already cringing inwardly at the knowledge of what is to come. But Varma doesn’t  just show us the sight of the four dead fishermen, trussed up and lying in a row he gives us a verbal exchange between the terrorists that is entirely of his own making: “Humne apne bakre kha liye hain, tum bhi kha lo (we have eaten up our goats, you eat yours too)”

Varma has made much of the fact that he does not intend his film to be read as an indictment of Muslims as a community, but this sort of ‘cinematic liberty’plying the audience with references to halaal and a (beeped out) Allah-u-Akbar as they do the deed is dangerously construable as exactly that. Varma’s rather strange way of balancing this out is to incorporate a long homily on the real message of the Koran. This might have been easier to take if it weren’t put into the mouth of our supposed hero, Patekar-Maria, and delivered to the film’s villain, Ajmal Kasab (debutante Sanjeev Jaiswal), as he cowers amid the corpses of his fellow gunmen on the filthy floor of a morgue.

It is not anyone’s case that Ajmal Kasab and his fellows be depicted as anything but the murderers of innocents. But it is not at all clear what we gain from having him depicted as some kind of caged animal, tearing off pieces of food with handcuffed hands, looking crazed and walking with the shuffling gait of some ape-man. Or indeed, what we gain from watching a trite, bloody rehearsal of the events of that terrible night that neither takes us into the lives of any of the ordinary people affected (beyond the desperate moment of their deaths), nor asks any of the difficult questions that need asking about the role played by politicians, the police and the media. 

The police here are uncritically feted as heroes, while the media and politicians do not even make an appearance.

In 2009, a 48 minute documentary titled Terror in Mumbai Dispatches, co-produced by Channel 4 and HBO, and directed by Dan Reed, was released. Consisting of interviews with victims, actual CCTV videos of the terrorists at various sites, video testimony of the captured Ajmal Kasab soon after he was caught and most terrifying of all, actual audio intercepts between the terrorists and their handlers in Pakistan, Dan Reed’s thoroughly disturbing film has never been shown (or excerpted or discussed) on Indian television. Which is no surprise, perhaps, because it contains chilling and irrefutable proof, among other things, of how unregulated media coverage actually aided the terrorists and their Pakistani controllers in stretching the ordeal out further by giving them a clear sense of what steps the Indian law enforcement agencies were taking. 

If you want to watch a gripping film on 26/11 that shows you what actually happened and leaves you with a lasting sense of unease instead of letting us pat ourselves on the back for sacrifice and moving patriotically on Terror in Mumbai is available on the internet. Watch it.

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I, Me Aur Main Movie Review Latest News John Abraham Photos Images Preview Ratings Songs Music

I, Me Aur Main Movie Review.I, Me Aur Main Latest News.I, Me Aur Main John Abraham.I, Me Aur Main Photos.I, Me Aur Main Images.I, Me Aur Main Preview.I, Me Aur Main Ratings.I, Me Aur Main Songs.I, Me Aur Main Music.I, Me Aur Main Movie Updates.I, Me Aur Main John Abraham Photos.

I Me Aur Main
Director: Kapil Sharma
Cast: John Abraham, Chitrangda Singh, Prachi Desai

I, Me Aur Main

John Abraham is surrounded by women; all the time. That’s true in real life as well, but let’s just talk about his (not as enviable) situation in debutant director Kapil Sharma’sI, Me Aur Mainfor now.

Mother, sister, girlfriend, boss, friend—all the key people in his life on the reel are women. So you’d think he’d be an ace at handling them, but…then we wouldn’t have a movie about it, would we?

Abraham’s character Ishaan is a self-centered, spoilt brat. He’s been brought up since childhood by his mother (Zarina Wahab) to believe that no matter what, he is the best; indulged through the years by his sister (Mini Mathur), who’s always covered his tracks for him; humoured by his boss (Raima Sen) at the music label company where he works; fawned over by singers desperate for their big break; and tolerated by his hot, successful corporate lawyer girlfriend, Anushka (Chitrangada Singh).

The first time we see her, we wonder if we’ve accidentally walked into the screening of Inkaar 2. Either that, or she had no time between wrapping up the original and starting this movie to even change her hairstyle or nail polish, never mind get a new wardrobe. Ok, maybe I’m nitpicking. But there’s so much time to get distracted during this film that it was bound to happen, and I will generously forgive myself.

I, Me Aur Main Movie 

So anyway, Anushka is in love with Ishaan, who is also in love with himself. That’s about all they seem to have in common any more. They’ve been together three years, and she’s demanding a commitment and meet-and-greet with his parents in Pune. He’s getting drunk at bars, some days even before Happy Hour begins, and avoiding her and the situation. (I heard a girl in the audience hiss the words ‘so typical!’ at this point during the film, so it obviously struck a chord.) Eventually, she can’t stand it any more and kicks Ishaan out of her posh flat, which the two of them have been sharing thus far.

At this point, he’s also been fired from his job and everything in his perfect life is starting to fall apart. He tries very hard to be heartbroken. Except, that’s tough when you’re John Abraham, and only have an adorable half-smile and a beautiful derrière in your entire repertoire (at some point he calls himself a ‘sexy idiot’ and really, I couldn’t have put it better myself). So instead he decides to skip this step and move on, already. He gets a new apartment; has to handle his mother who suddenly shows up from Pune to live with him because they very quickly and vaguely explain she’s tired of her husband/his father’s growing demands; and meets the girl next door, Gauri (Prachi Desai).

Fashion stylist by profession (shocking, considering how badly she’s been styled in the movie herself), bubbly by affliction, Gauri is the stable, carefree, happy sort that everyone likes. However, her act eventually gets so cutesy and upbeat that her character starts to irritate me, which in most Bollywood movies can only mean that we’re merely minutes away from Ishaan falling for her.

Does he? For real? Can she change him into a decent, more responsible human being? What about Anushka? Does his mother ever go back home? All this and more after the interval, if you hang around that long. We can’t promise it’ll be worth it for you; this is a decision you’re going to have to make for yourself.

Despite being disappointed at how it all turned out, I still have a fair share of expectations from the film’s director. Kapil Sharma is clearly happy to experiment with unpredictable, unconventional stories, and that could be pretty fun. I, Me Aur Main didn’t work like it should have; but maybe next time, with a tighter script and sharper performances from his actors, it will.

Movie Review:

On paper, the premise may have looked extremely neat about a commitment phobic guy just interested in having a good time between the sheets. But as the reels unfold, things get so bedraggled that you get distracted easily from what’s going on. You start noticing the protagonist Mr Commitment Phobic’s (John) collection of tees and how many times he squints a smile and crinkles his face his trademark. It could have been fun and maybe the writer (Devika Bhagat) had jotted something but its screenplay and execution by the debutant director makes it lacking.

Mr Commitment Phobic declares to his Ms Live-in Girlfriend (Chitrangda) that he will not pay the milkman as he only has black coffee. Perhaps this declaration should have been for the audience too pay and watch at your own risk! As he is a mama’s boy as soon as Ms Live-In Girlfriend dumps him, his mother (Zarina Wahab) arrives to look after him in his new neighbourhood. No sooner he befriends a Ms Chirpy Neighbour (Prachi).

I, Me Aur Main

Things unfold as you wonder what the characters actually do. Mr Commitment Phobic is part of the music industry, at least that’s clear. While Ms Chirpy Neighbour has something to do with the fashion industry thanks to that one scene of her being at a shoot. She even makes her own statement wearing only one earring! Meanwhile Ms Live In Girlfriend is someone well settled. She realises she is pregnant but does not want to tell Mr Commitment Phobic.

Enter his sister (Mini Mathur) to knock sense into his head as well as of their mother. Suddenly Ms Chirpy Neighbour wants to take off for Paris with Mr Commitment Phobic. But by now he is making amends, rushing his girlfriend to the hospital for delivery and even giving a speech to the newborn (who looks overage).

The only thing worth watching in this trite film is the stylist’s work as the main characters step out in their trendy best. In the credits roll is the name of Vicky Donor writer Juhi Chaturvedi as creative consultant. Perhaps she was not consulted to the fullest to save Mr Commitment Phobic to live up to his ‘I am the best’ lingo he continuously mouths in the film.

Movie review: I, Me Aur Main

I, Me Aur Main Movie Pics

A rom-com about a self-obsessed music producer who loves himself too much to notice that life might be passing him by is anything but oven-fresh. But in the larger context of popular Hindi cinema, a love story that does not culminate in a big fat Indian wedding is certainly a novelty.

Debutant director Kapil Sharma constructs a narrative that, superficially, appears far more interesting than it actually is. Nobody in the film gets exactly what he or she really wants and yet everybody goes home happy.

Unfortunately, the audience doesn’t because I, Me Aur Main is a rather listless drama about grown-ups who still have much growing up to do. Eventually it amounts to much ado about nothing.

The primary problem with the film is that the male protagonist is an outright cheapskate surrounded by at least half a dozen women who deserve much better than this twerp.

He is a thoroughly unlikable bundle of contradictions who is commitment-phobic and self-centered and shies away, despite several protestations to the contrary, from taking his live-in partner to his mom in Pune and talk about marriage until it is too late.

But when push comes to shove, all that the man needs is a gentle verbal nudge from his over-protective mother to see where exactly he is going wrong. The climactic course correction is all very contrived and cutesy to be convincing.

I, Me Aur Main is about a music company executive, Ishaan Sabharwal (John Abraham), who lives in the apartment of his well-to-do girlfriend Anushka (Chitrangada Singh) but refuses to share either the workload or the expenses of the household.

When the milkman is at the door the lady’s name is emblazoned on it he refuses pay up because, as he unabashedly insists, he “does not drink milk and even has black coffee”.

Ishaan is the sort of guy who, when his girl says that she loves him, responds with “I love me too”.

It definitely can’t be easy having a man like him around, so one wonders why the woman takes three years to decide that she has had enough of him.

When he is down, Ishaan stands before a mirror, pretends to be a boxer facing an imaginary punching bag, and mutters: “I am the best, I am the best.” That certainly isn’t the greatest way to confront life.

He is finally unceremoniously locked out of the house by an exasperated Anushka when he stumbles back home after a late night binge.

I, Me Aur Main John Abraham 

Ishaan’s mother (Zarina Wahab) lands up in his new pad to guide him through the low phase.

He also begins to receive the amorous attention of a chirpy fashion stylist-neighbour (Prachi Desai). She describes herself as a “part-time electrician”. The sparks do fly and a love triangle ensues. Ishaan is caught in a tangle of his own making.

It takes the efforts of four women the mother, a sister (Mini Mathur in her first big screen appearance) who happens to be his estranged beloved’s confidante, and of course the two contenders for his love to bail him out of the corner he paints himself into.

Part of the film also meanders through a maze of limpid music industry rivalries involving a boss another lady (Raima Sen) determined to put the cocky man in his place and a couple of new female singers who are looking for the big break. That’s a pretext for a couple of musical numbers.

But like the rest of the film, the songs barely pass muster.

The performances are, however, generally earnest and manage to attain an even quality. John Abraham, hot but not always happening, wisely stays firmly within his limits.

The high point of the star turn is when he takes off his shirt to jump into a swimming pool and Prachi Desai intones: “Wow, striptease!”

Chitrangada strikes the right notes for the most part and Prachi Desai lends a bubbly energy to a few of the scenes. Both Zarina Wahab and Mini Mathur bring a touch of warmth to bear upon an otherwise hopelessly soggy film.

I, Me Aur Main Images 

"I, Me Aur Main has a tight first half leading to an unconventional climax"

The moment you see two heroines plastered on the poster with a hero, there is an assumption the film would be a love triangle. However, debutant director Kapil Sharma’s I, Me Aur Main strives to break the norm as it attempts to tell a contemporary modern day storydealing with issues like live-in relationships, unwed pregnancy and infidelity.

We are introduced to Ishaan (John Abraham) as a child who’s pampered beyond means by his doting mother (Zarine Wahab) at the cost of his elder sister's (Mini Mathur) feelings. He grows up to be this man-child living with his girlfriend Anushka (Chitrangada) having no concern about the gravity her emotions or the pending milk man’s bill! Surrounded by women his mother, sister, girlfriend , the bitchy boss (Raima Sen) who hates his guts, he approaches their criticism with his signature ‘Ishaan’s the best’ self belief mantra where he air boxes his problems out of his head.

When everything seems to be going right, life takes an unexpected turn.Ishaan loses his job, his girlfriend and is faced with challenges beyond his control.His new neighbor Gauri (Prachi Desai) turns out to be a temporary solution to his woes.A free spirited fashion stylist she is an antidote to Anushka’s grim and brooding commitment craving personality.But their flirtatious romance is short lived as Ishaan’s past comes haunting him throwing him in the pits of introspection and perspective. What happens between these three characters and how they deal with each others insecurities and feelings is what the film turns out to be.

Thankfully the dialogues are light and breezy, keeping the conversations seem real. Sharma has a keen eye to create moments that don’t get too serious or dwell upon the dark side of the situation. Ishaan and Anushka’s scenes in the second half are poignant and restrained highlightingthe fragility of their relationship without going overboard with the dramatics. The Saajna track is a lyrical gem and works superbly in conveying the pain of an unrequited love.

John fits the role of Ishaan with ease. His body language and self confidence seems natural. Chitrangda is the underdog managing to leave a lasting impression each time she comes on screen. Prachi has the meatiest role and she sinks her teeth into it with glee. Her transition from the care-a-damn next door neighbor to someone who understands that nothing lasts forever is portrayed marvelously. However, the second half loses steam before the climax kicks in. The sequence where Ishaan launches his musical protege is long drawn. Prachi’s change of heart towards the end could have had a better graph.Raima’s character seems out of place, like a prop used to fill in the loop holes.

I, Me Aur Main has a tight first half leading to an unconventional climax. Watch it if new-age romance laced with a good looking ensemble is what gets you ticking.

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Jennifer Lawrence Oscars Winters Latest News Photos Pics Videos 2013 Speech Awards Hollywood Ideas

Jennifer Lawrence Oscars.Jennifer Lawrence Winters.Jennifer Lawrence Latest News.Jennifer Lawrence Photos.Jennifer Lawrence Pics.Jennifer Lawrence Videos.Jennifer Lawrence Oscars 2013.Jennifer Lawrence Speech.Jennifer Lawrence Oscar Awards.Jennifer Lawrence Hollywood.Jennifer Lawrence Ideas.

Jennifer Lawrence apologizes for missing out director in Oscars speech 

Jennifer Lawrence has apologised to her 'Silver Linings Playbook' director David O Russell and producer Harvey Weinstein for forgetting to thank them in her Best Actress Oscar acceptance speech.

Jennifer Lawrence Oscars 

The 22-year-old star was visibly nervous onstage after she tripped on her way to accept the trophy and in the ensuing embarrassment and excitement, she left out these two names.

Lawrence, however, issued a statement to properly thank her director and producer, the Entertainment Weekly reported.

"David O Russell: Thank you for the most incredible experience of my life. Thank you for your genius, for your guidance, for teaching me things about myself and nurturing me to be a better actor," she said in a statement.

Jennifer Lawrence Oscars Award

Addressing Weinstein, co-chairman of The Weinstein Company, she said, "You championed this movie and its story from early days. Your passion and unyielding support gave this film the opportunity to thrive and touch so many people."

"Obviously it was not on purpose, I couldn't remember what I had already said and my mind went completely blank – your brain does funny things during the most overwhelming moment of your life!."

Oscars: Jack Nicholson, Jennifer Lawrence cross paths, charmingly

After a mutual-praise exchange that had Lawrence gushing about loving "all" of Nicholson's movies, he began to take his leave.

"You look like an old girlfriend," Nicholson told her as he walked away.

"Oh, really? Do I look like a new girlfriend?" she joked back.

"I thought about it," he said suavely.

"Oh, my God!" she said after she thought he'd left, face crashing into her hands. "Is he still here?" she asked Stephanopoulos.

"I'll be waiting!," Nicholson said, popping back into the picture with his trademark shades on.

"Oh, my God. I need a rear-view mirror!" she exclaimed.

Jennifer Lawrence 

For all of Lawrence's regular-girl realness over the course of awards-season interviews, this may have been the realest reaction audiences have seen from the 22-year-old actress — or at least the biggest.

"I was going to ask you what are you going to remember about tonight," Stephanopoulos said with a laugh.

"That!" Lawrence pronounced, smiling broadly and gesturing Jack's way with her thumb. "That!"

It was her first time meeting the screen legend, she said.

As if we couldn't tell.

Two Hollywood A-listers both won major Academy Awards on Sunday but had remarkably different nights. One could do no right (Anne Hathaway) and one could do no wrong (Jennifer Lawrence). Peter Scowen explores a tale of two Oscar winners

Memorabilia dealer Nate D. Sanders put the skin-tight white dance pants, winter coat and sports bra Lawrence wore in the film up for sale in the online auction that will end on Thursday.

The items are expected to fetch between $500 and $1,500 following the 22-year-old's Best Actress win on Sunday.

"She's now on the record for having an Academy Award, which definitely gives it (the items) status now," said Laura Yntema, spokeswoman for auction house Nate D. Sanders.

"The Hunger Games" star also won awards from the Golden Globe and Screen Actors Guild in January for her "Silver Linings Playbook" performance.

Five items, either worn by Lawrence or from her wardrobe on the film, are up for auction with starting bids at $100.

Jennifer Lawrence Photos

They include the custom-tailored skin-tight white pants Lawrence wore during the film's climactic ballroom dance scene with co-star Bradley Cooper.

The black, full-length double-breasted Moda International wool coat is a size six. The teal sports bra by Gap Body will be sold together with an extra-small blue Threads 4 Thought long-sleeved shirt.

The auction also has nine clothing items either worn or from the wardrobe of Cooper, and two items from the wardrobe of supporting actor Chris Tucker.

Movie studios often hand off costumes to auction houses, where even small outfits can fetch high prices from fans and collectors.

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Kai po che Movie Complete Review Latest News Songs Photos Pics Videos Cast & Crew Ratings

Kai po che Movie Complete Review.Kai po che Latest News.Kai po che Songs.Kai po che Photos.Kai po che Pics.Kai po che Videos.Kai po che Cast & Crew.Kai po che Movie Ratings.Kai po che Direction.Kai po che Actors.

Kai po che!
Actors: Amit Sadh, Sushant Singh Rajput, Raj Kumar Yadav

Direction: Abhishek Kapoor
Rating: 3.5/5

Kai Po Che! is a moving portrait of friendship, loss, forgiveness. Working from Chetan Bhagat's best-seller The 3 Mistakes of My Life, co-writer 

and director Abhishek Kapoor lovingly constructs camaraderie so deep and abiding that you know it must be splintered. Ishaan, Govind and Omi, three middle-class boys in Ahmedabad, are swept away by currents beyond their control. Great horrors unfold and yet, when the deeds are done, a sense of redemption remains.

Kai po che Movie 

The story begins with the three -Ishaan played by Sushant Singh Rajput, Govind played by Raj Kumar Yadav and Omi, played by Amit Sadh - embarking on their first business venture, a sports shop with coaching facilities. Ishaan was an aspiring cricketer but like thousands of boys in India, his talent was lost in the maze of selectors and politics. He morphs into a hot-tempered but unusually generous coach. Govind, the cautious and brainy one, keeps a strict eye on the finances - the other two call him baniya. And the loutish but unquestioningly loyal Omi, serves as the financer. He manages to routinely extract money from his uncle who is a political leader in a right-wing Hindu party. Ishaan's star pupil is a scrawny Muslim boy. We are a few months away from the Gujarat riots. You know that no good can come out of this.

Kai po che Movie Complete Review

Abhishek Kapoor's biggest accomplishment is that he and his writers have created three-full bodied characters - these boys with their towering ambitions and aching vulnerability, are people you and I know. And then, most critically, he has also found three wonderful actors who inhabit the characters wholly. Sushant, Raj Kumar and Amit become Ishaan, Govind and Omi. Their lack of stardom works in their favour (though I'm fervently hoping that post release, each one becomes a sought-after star). We believe them. We partake in their joys and struggles. Kai Po Che! is beautifully shot by Anay Goswamy but it's not glossy. You can almost feel the sweat and dust of the narrow lanes. And the icing on the cake is the song Manjha by composer Amit Trivedi (who has also sung it) and lyricist Swanand Kirkire. It has a sweet melancholy that reminded me of Kirkire's other gem, Baanwara Mann (from the 2003 film Hazaaron Khwaishein Aisi).

Kai po che Movie Photos 

What doesn't work as well is the screenplay. There are stretches in which the film slows down enough to make you restless. In places, the narrative is jerky and not fully convincing - the boys recover from a big financial blow with little stress. I also found the Gujarati dialogue a little distracting. Kapoor's portrayal of the Gujarat riots doesn't lacerate you like Rahul Dholakia's Parzania or Nandita Das' Firaaq. This version is far more comforting and palatable. But perhaps that is not such a bad thing.

Kai Po Che! is Gujarati for "I've cut". It is used as a cry of victory in kite-flying contests. Here victory is hard-earned and tinged with tears and regret. But it's also deeply satisfying. 

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Mirchi Movie Full Review Telugu Prabhas Story Latest News Ratings Photos/Images Anushka Richa

Mirchi Movie Full Review. Mirchi Movie Telugu.Mirchi Movie Prabhas.Mirchi Movie Story.Mirchi Movie Latest News.Mirchi Movie Ratings.Mirchi Movie Photos.Mirchi Movie Images.Mirchi Movie Anushka.Mirchi Movie Richa.Mirchi Movie Latest News.Mirchi has a faction story between two warring groups.

PRABHAS 'MIRCHI' MOVIE REVIEW: 'Spicy'

After his last movie didn’t go as great as expected , there was a lot of hype that Prabhas will be back with ’Mirchi’ even though the young rebel did his best but the all-round performance of the entire cast was below par and leaves a lot to be desired. The sript writer’s transition into a director has not been good. Let me get on with the full review.

Story:

Jai is an architect based in Italy, an optimistic who believes love changes everything.He becomes friends with a girl and then falls for her.He then follows her back to Mumbai where her family accepts him as their son -in-law. But then he has a background with a girl at a rival camp. Will that love blossom? How will the love triangle turn out to be, forms the crux of the story.

Mirchi lo PRABHAS

Performance:

As I have stated earlier Prabhas has lined up to the hype his name has created for the movie.He looks handsome as always, acts brilliant with top notch dialogue delivery ans with wonderful screen presesnce and dance moves.Full marks to his performance.

Anushka’s girl-next-door act deserves appreciation as well. A girl hopelessly in love but torn between the rivalry of two families she wonderfully enters into the character. The overall screen presence and chemistry with Prabhas in the movie.

However, Richa’s performance has a dampening effect on the entire movie. Her acting skills and chemistry with Prabhas is below par. She could not match Anushka in any way on any level.

Another graceful performance was given by Sampath Raj. There are some comical moments that Brahmi gives you throughout the movie but it leaves the plot half-baked. Others have substantially less screen time and so I cannot comment on their performances.

Overall performance of the cast is still a dud.
Ratings: 2.75/5

Mirchi Prabhas Cutout at Sandhya 

Direction, Script and Cinematography:

Koratala Siva is a good writer for sure. But all good writers cannot be good directors. The script offers nothing new. It is a routine and a vary predictable story which is not apt for a star like Prabhas.

The Screenplay and dialogues are also below par and the story does not connecct well and leaves the entire audience confused.

The cinematography is disappointing and the scene backdorps, fights does not look good and even the edition is too bad for a movie that is hyped this much.

Music: 
This is the only part of the movie that is great overall.The background score and songs give an immersive experience for the user.Surprisingly, the picturization of the songs are better than the rest of the movie.Full marks to the music.

Verdict:
If you are a Prabhas fan, you are most likely to see it any way but if you are not, you can chuck it because its not worth it. Koratala Siva should do a better job next time.

Mirchi Movie Telugu Review:

ఆ మధ్యన కమర్షియల్ తెలుగు సినిమాకు వరంలా మారిన ఫ్యాక్షన్ నేపధ్యం ప్రేక్షకులకు పరమ బోర్ గా మారి,రిజెక్టు చేస్తూండటంతో...... అప్పటివరకూ వెండి తెరపై ఫ్యాక్షన్ నరుకులాటలు,  రక్తపుటేరులు ప్రవహింపచేసిన దర్శక, నిర్మాతలు ఒక్కసారిగా రూటు మార్చి కామెడీపై పడ్డారు. అయితే రచయిత నుంచి దర్శకుడుగా మారిన కొరటాల శివ మాత్రం.. మళ్లీ పాత పగని(ప్రేక్షకులపై) రేపినట్లు.. ఫ్యాక్షన్ కత్తులతో విరుచుకు పడ్డాడు. మిస్టర్ ఫెరఫెక్ట్ వంటి కథలతో ఫ్యామిలీ హీరోగా మారుతున్న ప్రభాస్ కు మాస్ హిట్ ఇస్తానంటూ రక్తం ఓడుతున్న కత్తిని ఇచ్చాడు. అయితే ఆ కత్తికి కధా పదును సరిగ్గా పెట్టలేకపోయాడు. ఫస్టాఫ్ ని ఎంటర్టైన్మెంట్ తో బాలెన్స్ గా నడిపిన దర్శకుడు సెకండాఫ్ కి వచ్చేసరికి ఫ్లాష్ బ్యాక్ పేరుతో శివమెత్తిపోయాడు. దానికి తోడు ఆ ఫ్లాష్ బ్యాక్ ఏ పాపుగంటతోనో సరిపెట్టకుండా సెకండాఫ్ మొత్తం దాంతో నడిపించేసి హమ్మయ్య అనుకున్నాడు. అయితే ప్రేక్షకుడు ప్లాష్ బ్యాక్ లు చూడ్డానికి ధియోటర్ కి రారనే విషయం మర్చిపోయాడు. అప్పటికీ ప్రభాస్...తనదైన శైలిలో మంచి ఎనర్జీతో నటించి సినిమాని పూర్తిగా తన భుజాలపై మోసే ప్రయత్నం చేసాడు. ఇటలీలో ఆర్కిటెక్టర్‌గా ఉద్యోగం చేస్తున్న జై (ప్రభాస్‌)... వీలైతే ప్రేమిద్దాం.. పోయేదేముంది డ్యూడ్ అనే మనస్తత్వం ఉన్న యువకుడు. అక్కడే చదువుకుంటున్న మానస (రిచా గంగోపాధ్యాయ) జై ఏటిట్యూడ్ నచ్చి ప్రేమలో పడుతుంది. అంతేగాక తమ ప్రేమకు అడ్డుగా నిలిచే తన ఫ్యాక్షన్ కుటుంబం గురించి జై కు వివరిస్తుంది. దాంతో... జై వెంటనే తట్టాబుట్టా సర్దుకుని... ఇండియా వచ్చేసి, ఆమె ఇంటిలో వాలిపోయి... ప్యాక్షన్ పగలతో రగిలిపోతున్న వారి కుటుంబాన్ని సంస్కరించే పనిలో అమాంతం పడిపోతాడు. ఆ క్రమంలో అతని గురించి ఓ నిజం ప్రేక్షకులకు తెలుస్తుంది. ఇంతకీ జై ఆ ఇంటికి వచ్చింది.. తన ప్రేమ కోసం కాదు.. మరొక పనిమీద అని.. ఇంతకీ ఆ పని ఏమిటి... ఇంతకీ జై ఎవరు...మరో హీరోయిన్ వెన్నెల (అనుష్క) లతో జైకి ఉన్న బంధమేమిటి? వాళ్లిద్దరిలో ఎవరిని ప్రేమించాడు? తదితర విషయాల్ని తెరపైనే చూడాలి. ప్లాష్ బ్యాక్ నేరేషన్ లో చెప్పిన ఈ కథని దర్శకుడు, రచయిత అయిన కొరటాల శివ సాధారణ ప్రేక్షకుడికి సైతం తర్వాత ఏం జరుగుతుంది అనే విషయం తెలిసిపోయేలా ఊహకు అందే స్క్రీన్ ప్లే తో తయారు చేసాడు. దానికి కారణం.. రొట్టకొట్టడు స్టోరీ లైన్ ఎన్నుకోవటం.. దాంతో ఎన్నో సార్లు తెరపై చూసిన సీన్స్ ఆ స్టోరీ నుంచి పుట్టడం. ముఖ్యంగా ఫ్లాష్ బ్యాక్ తోనే సెకండాఫ్ మొత్తం నింపేసాడు. తమ ఇంటికి అతిథి గా వచ్చిన హీరో గురించి నిజ స్వరూపం తెలుసుకున్న విలన్స్ ఏం చేసారు... అన్న విషయమై సెకండాఫ్ ఎక్కువ భాగం నడవాల్సి ఉండగా... దాన్ని క్లైమాక్స్ ఫైట్ తో ముగించేసాడు. ఫ్లాష్ బ్యాక్ నేరేషన్ కథల్లో... హీరో గతం తెలుసుకున్న తర్వాత ఏం జరుగుతుంది.. అనేదే ఆసక్తికరం. కీలకమైన దాన్ని వదిలేయటంతో సెకండాఫ్ బోర్ గా తయారైంది. అందులోనూ ఫస్టాఫ్ ఎంటర్టైన్మెంట్ తో చక్కగా నడిపిన దర్శకుడు ఆ ప్లో ని సెకండాఫ్ లో మెయింటైన్ చెయ్యలేకపోయాడు. అలాగే సెకండాఫ్ ని పూర్తిగా హింసతో నింపేయటం కూడా ఇబ్బందికరంగా మారింది. అలాగే... హీరో.. తన వ్యక్తిగత లక్ష్యం కోసం ఒక అమ్మాయిని ప్రేమలో దించి, చివరకు ఆమెను ఆమె మానాన ఆమెను వదిలేయటం కూడా హీరోయిజం అనిపించుకోదు.

Mirchi Telugu Movie Review:

Mirchi Prabhas Spicy Style 

If you are expecting a novel story, watch either a Tamil or a Malayalam movie but don't crib that our writers and directors cannot come up with something fresh. We are experts in recycling, reshuffling and borrowing story points and presenting it well with a scoop of gags from Brahmanandam's basket and we know how to intersperse the story with knives, romance, dances and memorable dialogues that we call a 'punch'.

Mirchi has a faction story between two warring groups, one is baying for the other's blood and the hero to bring in peace comes into the rival's home and wins their love. There ends the story; let's see what makes the film work and what are its flaws.

Economics point of view it is imperative for the writer cum director to come up with a safe subject that would help the producer recover the umpteen crores and that is possible when the basic needs and expectations of the audiences are met. Koratala Siva did not do a brilliant job but he showed his smartness and business acumen while carving the story. The dialogues are not bombastic, it is simple, ordinary in fact very ordinary that you might forget them..but that is where the trick lies.

We have seen heroes reeling off glorious lines that made them larger than life and gave the audience a clichéd feeling. Here Siva gives Prabhas a very simple look, feel and words that don't build up expectations at all.

We know the story, it is predictable but till it reaches a predictable point where he gets bashed up to win love like we watched in many films..the director stretches the goodness. The hero doesn't go overboard in highlighting the virtues in his personality, he just goes about doing them that comes naturally to him and that is what perhaps makes the character endearing. Songs, music is good, the screenplay is not heavy on the mind.

Prabhas is charming as ever, but you have to strain your ears to actually understand what he is saying, he eats his words, speaks briskly as usual. Nadiya and Satyaraj stay loyal to the script and don't overact like faction mom and dad. Anushka is given a better role than Richa Gangopadhyay. The double entendre is difficult to stomach when she tries comparing her anatomy with the fields. Satyam Rajesh's part didn't work but Brahmanandam's comedy was more than tolerable.

Subbaraju is funny, the art work looks authentic. Mirchi is formulaic, predictable yes but the writer who makes his debut as a director passes muster, dishes out an engaging and an entertaining film, Prabhas definitely is the big draw and the toning down of dialogues, emotions all within tolerable limits makes the faction film a good watch. This Mirchi is spicy.

REVIEW WITH A SHOW:

12:30am: Midnight show... Thousands of people in front of theater, flashing their benefit show tickets with pride... Greeting others with happy 'Mirchi' shouts... Police men all around the theater controlling young rebel star fans... This is the status at benefit show theater in Hyderabad, guess what would be in Godavari districts crowds.  

01:40am: Titles started with normal track... but simple yet cute entry of Prabhas with musical instrument is nice...

01:44am: Richa's [Manasa] entry... first fight with good dialogues and perfect action movies were given required elements for the Rebel Star entry as [Jai]  

01:50am: Prabhas look and the dialogue delivery reminding darling movie... Jovial Prabhas with trendy clothes and nice hairstyle along with cute smiley face gives mass hero appeal yet reminds next door guy.

01:54 Am: Yahoon! Yahoon! song comes up with peppy dance moves, regular foreign locations and white people. Although h Richa is on screen, Prabhas steal the show.  

01:58 Am: Okay! Glimpse of Palnadu faction on screen... Prabhas is back to Hyderabad as a collage student he looked not bad as student :). 'Subbaraju' as classmate to Prabhas... Looks a bit  weird... 

02:00 Am: 'Brahmi' entered the scene as 'Veera Pratap'... His intro is not all that funny, but he pulled few laughs through his flashback episodes.  

02:08 Am: Palnaadu episode again but more cruel and bloody.

02:10 Am: Mirchi Mirchi Song... full mass steps, Red pepper all around and 'Hamsa Nandhini' 

looking good; but placement of song is not right.

02:13 Am: Prabhas tricking Subbaraju is all revealed, Prabhas is in Palnadu... So far executed well...  

02:13 Am: Bramhi is also in Palnaadu! Comedic dialogues delivery was okay but not to the extent we expect from Bramhanandam.

02:20 Am: Palnaadu episodes are being canned so raw and native style... Looking cheap and crude on screen.   

02:23 Am: Story is building up... while Bramhi's homesick episode is trying to entertain... movie is getting serious   

02:26 Am: Faction mixed sentiment scenes canned with perfect background score... Emotions were nicely captured.

02:28 Am: Richa's double meaning dialogues episode is sort of awkward and boring.

02:30 Am: Nagineedu turning into 'Pedda Manishi' was emotionally perfect guys  

02:33 Am: Richa's 'marriage looks' episode was okay...  

02:37 Am: Prabhas intelligent moves are good to see on screen, Brahmi's conversation with Prabhas about 'Vaadakam' is funny.   

02:42 Am: Barbie girl song... Simple village locations but cowboy getup's and white beauties around was visual treat... Prabhas is ease with his dance moments and the energy and grace he is bringing on screen was amazing.      

02:46 Am: Faction chase scene was good... Prabhas saving one of villain was canned okay.    

02:47 Am: Prabhas conversations with ladies gang was native. 

02:49 Am: Opposite family head... Sathyaraj entry was shot with cheap visuals, cinematography and taking is disappointing, but the background score was nice. 

02:50 Am: Prabhas getup as farm labour with 'Panche' and red muffler was good.

02:50 Am: Lengthy dragging fight scene is more heroic than natural, and visuals are quite unappealing.

02:54 Am: Interval bang with the twist was sort of not bad. but certainly expected better.

02:54 Am:  --- POP CORN TIME --

03:05 Am: Prabhas cute looks, jovial action combined with intelligent thinking , his dance moves, DSP's background score, songs, native faction atmosphere, few emotional faction scenes are the good ones. Downside is Richa, story is quite regular one so far, Cinematography, in the name of nativity... scenes are canned bit cheap, we would expect more grandeur show for hero like Prabhas.
03:09 Am: Prabhas flash back started... Prabhas is presented with a very neat getup... he is looking awesome. 

03:11 Am: Flashback within flashback villages and Prabhas father... lot of drama, sentiment   

03:14 Am: Okayy! Anushka's introduction with her 'marriage looks' episode was good   

03:17 Am: Anushka and Prabhas encounter was unusual and well thought... Looked good on screen  

03:19 Am: Father - Son scenes between Prabhas and Sathyaraj shot nicely and the  background score was quite opt.

03:20 Am: Anushka and Prabhas chemistry looked good guys 

03:24 Am: Kailash kher... 'Pandagala  digi vachadu' song was shot with rich visuals and giving much awaited heart touchiness for this genre film.

03:25 Am: Sathyaraj performance is good, he was given a character with potential, and he is doing justice for it

03:27 Am: Prabhas chasing scene shot in village roads looked okay, following fight was powerful and dialogue delivery from Prabhas was amazing.  

03:30 Am: Anushka - Prabhas conversation was romantic, enjoyable and concluded with good meaning.

03:35 Am: Massive village burning episode... followed by argument between two groups and little fight of Prabhas was canned meaningfully, Satyam Rajesh comedy episode is okay 

03:40 Am: Dialogues are good... Story plot is turning interesting guys   

03:43 Am: Prabhas is looking damn good... after seeing Prabhas in this getup... 'Puri jagannadh' might take his comment back about Mahesh as the most handsome hero of Tollywood.

03:50 Am: Anushka - Prabhas love episode is concluding to marriage with wonderful note and very nice dialogues  and heart touching scenes

03:54 Am: 'Kaatuka Kallunu ...' song: silent romance of Anushka and Prabhas with few beautiful scenes in between was a visual treat... Song was shot with creative theme and for the first time it looked like a duet with hero  and heroine in the song .  

03:57 Am: Anuskha and Prabhas back with most awaited song 'Darlingey' song... Sort of traditional art work, nice moves, Anushka, Prabhas grace make this song a lovable one... 

03:59 Am: Sathyaraj and his wife family sentiment scenes are shot as required. Prabhas marriage episode started on good note 

04:01 Am: Fight in 'pelli pattu panche', Reminds you 'Eshwar' Prabhas, Fight shot intelligently... Background music is soul to the fight.

04:03 Am: So far, Prabhas was presented with three shades of emotions and performance and he is good in every part of it.  

04:04 Am: Heavy sentiment scenes are running, audience seem to connect well with the movie. 

04:06 Am: 'Nee Choopula' song as Prabhas walking out of village shot with required emotions, nice to see on screen  

04:09 Am: Magatanam episode between villain and Prabhas is well thought and built pre-climax.

04:15 Am: Fight scene with Prabhas folding his hands taking all the beating from villain but responding aggressively when the matter come to his family... was dramatic and not quite appealing; but the meaningful background score was nice.

04:18 Am: Climax is sort of flat [bit of disappointing] so far... But the way a 20 years paralyzed person getting up and talking about Prabhas was one savior  

04:19 Am: Cinematic... Everyone changed to be good people and Prabhas settling down with Anushka as predicted ....,

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