Street Dancer 3D full movie 2020
Dance films have been a rage in the West and in Bollywood, this genre got an establishment thanks to ABCD – ANY BODY CAN DANCE [2013]. Directed by Remo Dsouza, it starred unknown faces and yet fetched a decent opening and did good business at the box office.
The series got a boost as the second part, ABCD – ANY BODY CAN DANCE – 2 [2015] starred Varun Dhawan and Shraddha Kapoor and was a Rs. 100 crore grosser and the first such film for both the actors. Now Varun, Shraddha and Remo join hands once again for STREET DANCER 3D, which is also in the same zone as the ABCD films. This time, they promise to take the dance and madness many notches higher. So does STREET DANCER 3D manage to fulfil the expectations? Or does it fail to impress? Let’s analyse. STREET DANCER 3D is the story of two warring groups uniting for a larger cause with the backdrop of dance. Sahej (Varun Dhawan) is an Indian origin British resident based in London with his family. He and his brother Inder (Punit J Pathak) are a part of a dance group called Street Dancers. Inder had participated in a globally reputed dance performance called Ground Zero. Sadly, in the final act of his dance performance, he gets injured and breaks his knee. Two years later, Sahej travels to Punjab, India for a wedding. He returns with lot of money which he uses to buy a dance studio. He tells Inder that he got this money by performing back home. Sahej reunites the Street Dancers gang and they begin their street dance performances. In the same locality, another dance group resides called Rule Breakers. They are of Pakistani origin and comprise of Inayat (Shraddha Kapoor), Zayn (Salman Yusuff Khan) among others. Their dance is quite superior and both groups often get into tussles. Sahej realizes that Street Dancer group has to get their dance moves right. STREET DANCER 3D begins on a visually stunning note. The introduction piece is well shot and thought of and instantly sets the mood. The introduction of Inayat is quite fun while Nora’s entry will surely soar the temperatures in this cold weather. Nothing much then happens till a point. It’s only when Sahej narrates his Punjab experience to Poddy (Raghav Juyal) that the interest lifts again. The intermission comes at a fine juncture. Post-interval, the film drops again but a nice plot point is added here when Sahej breaks off from Street Dancers. This track works well. The immigration bit is touching but logically flawed and that affects some impact. But the film has lot more to impress. The semi-final sequence is sure to be greeted with claps and whistles. The climax has enough drama and entertainment to keep viewers hooked. The film ends on a touching note with a montage of the SWAT (Sikh Welfare & Awareness Team) and their noble work in London.
Dabang 3 full movie 2020
Dabangg 3 Story: The film, a prequel in part, traces Chulbul Pandey’s journey from a young man named Dhaakad to police officer Chulbul Pandey, and his fight with the demons of his past.
There are ample clap-worthy and seeti-maar moments in Prabhudeva’s 'Dabangg 3' for Salman Khan fans to lap up. Yes, he takes off his shirt, flaunts his well-toned, perfectly-greased body and beats up the goons to pulp. The action is raw and solid, however, some action scenes (like Chulbul's introductory sequence) are unreasonably stretched. While the story is clearly predictable, in this one again, Salman’s star power, swag and style remain intact. There is an attempt to infuse comedy in the story, but it seems rather forced. The storyline is not cohesive and the narrative is loosely strung together.
Sudeep is menacing as the baddie, who is out to make Chulbul’s life miserable. The South actor has a great screen presence, which makes the face-offs between Chulbul and him impactful and entertaining. Sonakshi was seen as Rajjo in the first two movies of the franchise, too, but in a film that’s primarily about a tussle between the good and the bad men, she doesn’t have much to do other than play the loving and doting wife. Saiee, who makes her debut as young Chulbul’s lady love, has a pleasant screen presence and is effective, but she could do with expressing more in the emotional scenes. Arbaaz plays his part well.
The film, with a runtime of 2 hours and 42 minutes, seems very long and could have done with a tighter edit. The narrative is also interrupted by a long line-up of songs, of which, the memorable ones are 'Munna Badnam Hua' and the title track.
Overall, the film has all the ingredients required for a massy masala entertainer — good action, music, drama and, of course, Salman packing all of this in one story. The portions where the actor throws in comedy while doing hardcore action scenes are nicely done. 'Dabangg 3' shows Salman in his element – throwing deadly blows at the villains amidst all the smoke, dust and fire, while you can hear chants of Hudd Hudd Dabangg in the background. And those certainly will be paisa-vasool moments for Salman Khan's fans.
This is the third instalment of the 'Dabangg' franchise, and the audience is well-acquainted with the larger-than-life, lovable cop and his world. Chulbul (Salman) spends his average day romancing his wife Rajjo (Sonakshi), troubling his brother Makkhi (Arbaaz) and fighting and reforming goons. All is well, until he busts a prostitution racket and saves a bunch of girls, which angers the ringleader, the rich and powerful Balli (Sudeep). Cut to, Chulbul Pandey’s beginnings, a huge chunk of the first part of the film is about his younger days, his love interest – the beautiful and naive Khushi (Saiee) – and the circumstances that urged him to turn over a new leaf and become Robinhood Panday.
There are ample clap-worthy and seeti-maar moments in Prabhudeva’s 'Dabangg 3' for Salman Khan fans to lap up. Yes, he takes off his shirt, flaunts his well-toned, perfectly-greased body and beats up the goons to pulp. The action is raw and solid, however, some action scenes (like Chulbul's introductory sequence) are unreasonably stretched. While the story is clearly predictable, in this one again, Salman’s star power, swag and style remain intact. There is an attempt to infuse comedy in the story, but it seems rather forced. The storyline is not cohesive and the narrative is loosely strung together.
Sudeep is menacing as the baddie, who is out to make Chulbul’s life miserable. The South actor has a great screen presence, which makes the face-offs between Chulbul and him impactful and entertaining. Sonakshi was seen as Rajjo in the first two movies of the franchise, too, but in a film that’s primarily about a tussle between the good and the bad men, she doesn’t have much to do other than play the loving and doting wife. Saiee, who makes her debut as young Chulbul’s lady love, has a pleasant screen presence and is effective, but she could do with expressing more in the emotional scenes. Arbaaz plays his part well.
The film, with a runtime of 2 hours and 42 minutes, seems very long and could have done with a tighter edit. The narrative is also interrupted by a long line-up of songs, of which, the memorable ones are 'Munna Badnam Hua' and the title track.
Overall, the film has all the ingredients required for a massy masala entertainer — good action, music, drama and, of course, Salman packing all of this in one story. The portions where the actor throws in comedy while doing hardcore action scenes are nicely done. 'Dabangg 3' shows Salman in his element – throwing deadly blows at the villains amidst all the smoke, dust and fire, while you can hear chants of Hudd Hudd Dabangg in the background. And those certainly will be paisa-vasool moments for Salman Khan's fans.
Marjaavaan full movie 2019
Marjaavaan Raised as the right-hand man of a tanker mafia in Mumbai, Raghu’s (Sidharth Malhotra) life changes when he sees Zoya (Tara Sutaria). But this love story is probably destined for doom.
Marjaavaan Review: In one of its early scenes, the film’s leading man Sidharth Malhotra (chewing the rear end of a matchstick) lands up in a shady looking godown to beat up the bad guys. He brings along a first aid kit (a la Big B in Trishul where he brings the ambulance along) and justifies it by saying, “Main todunga bhi aur tod kar jodunga bhi.” He then fires another one that goes, “Main maroonga marr jayega, dobara janam lene se darr jayega.” And thus, follows many such high on drama, low on impact lines and action scenes where grim looking burly men engage in fist fights and throw each other around. Only if this action came with logic and conviction to match.
The film’s plot is reminiscent of many potboilers straight out of the 80s, with barely any novelty in execution. There is love, drama, action and revenge packed in an exhausting two and a half hours of narrative, full of clichés and stereotypes. Thankfully, Marjaavaan has a few good actors, who strive to make their characters work against all odds. Leading them is ironically, the film’s villain Vishnu, played by Riteish Deshmukh. As a midget, who is obsessed with metaphors around height, Riteish doesn’t exactly look dreadful but his performance instills some fear. However, as he constantly mouths over-the-top filmy dialogues, it blunts his villainy making it unintentionally funny.
Sidharth Malhotra, on the other hand, has a fine screen presence and he attempts to put in an honest performance. But his character is one-note and the film’s overall writing lacks the depth to make it impactful. The film’s leading lady, Tara Sutaria, looks beautiful in the role of a mute girl Zoya, but doesn’t have much to work with. Ditto for Rakul Preet Singh (in a special appearance), who plays a bar dancer, Aarzoo. She has little to do than showing off her moves on the dance floor and flaunting her perfect hour-glass figure. Among the character artistes, veteran south actor Nassar and Bhojpuri star Ravi Kishen, impress in their limited screen time. The film’s music is melodious and peppy that blends well with the narrative, but there are far too many songs, adding to an already lengthy runtime. The background score is loud and distracting.
Marjaavaan attempts to check all the boxes for an emotional action rollercoaster, but its dated execution doesn’t quite make the kill.
Marjaavaan Review: In one of its early scenes, the film’s leading man Sidharth Malhotra (chewing the rear end of a matchstick) lands up in a shady looking godown to beat up the bad guys. He brings along a first aid kit (a la Big B in Trishul where he brings the ambulance along) and justifies it by saying, “Main todunga bhi aur tod kar jodunga bhi.” He then fires another one that goes, “Main maroonga marr jayega, dobara janam lene se darr jayega.” And thus, follows many such high on drama, low on impact lines and action scenes where grim looking burly men engage in fist fights and throw each other around. Only if this action came with logic and conviction to match.
The film’s plot is reminiscent of many potboilers straight out of the 80s, with barely any novelty in execution. There is love, drama, action and revenge packed in an exhausting two and a half hours of narrative, full of clichés and stereotypes. Thankfully, Marjaavaan has a few good actors, who strive to make their characters work against all odds. Leading them is ironically, the film’s villain Vishnu, played by Riteish Deshmukh. As a midget, who is obsessed with metaphors around height, Riteish doesn’t exactly look dreadful but his performance instills some fear. However, as he constantly mouths over-the-top filmy dialogues, it blunts his villainy making it unintentionally funny.
Sidharth Malhotra, on the other hand, has a fine screen presence and he attempts to put in an honest performance. But his character is one-note and the film’s overall writing lacks the depth to make it impactful. The film’s leading lady, Tara Sutaria, looks beautiful in the role of a mute girl Zoya, but doesn’t have much to work with. Ditto for Rakul Preet Singh (in a special appearance), who plays a bar dancer, Aarzoo. She has little to do than showing off her moves on the dance floor and flaunting her perfect hour-glass figure. Among the character artistes, veteran south actor Nassar and Bhojpuri star Ravi Kishen, impress in their limited screen time. The film’s music is melodious and peppy that blends well with the narrative, but there are far too many songs, adding to an already lengthy runtime. The background score is loud and distracting.
Marjaavaan attempts to check all the boxes for an emotional action rollercoaster, but its dated execution doesn’t quite make the kill.
Grand masti movie 2013
Mark this moment. This is the moment when Bollywood breaks free. 'Grand Masti' is unabashedly gross, vulgar, crass, shameless and fearlessly adult. But for a moment one has to step back from the noise of dissent – from the guardians of Indian culture and their histrionic fatwas – and ask yourself one simple question: Who are we to choose for others?
A group of 23 teenagers were pleading for tickets at a multiplex booth this morning. Three didn’t have IDs on them to prove they were adults. Even if they hadn’t celebrated their 18th birthday yet, the fact that they were of the same clique where twenty of them had proofs should have been taken into consideration. What is 18, but a technicality in the age of the internet?
I am not celebrating Grand Masti like I did Delhi Belly (a film I had felt at the time would usher in change in the way we think of our cinema, much to the indignation of naysayers) because it does not share a similar level of artistic merit (hence the rating). But if Delhi Belly was the pressure cooker’s first whistle, Grand Masti has blown the lid off in terms of shaking up our content. In the history of art, this has never been a bad thing.
There have been similar films in the recent past – but they weren’t nearly as clever or well thought out – and almost always were incredibly sexist. Grand Masti is too, of course, but Milap Zaveri’s writing is definitely not lazy. There’s a proper plot, characters are reasonably detailed and have their ups and downs, a comic book villain, and the relentless innuendos must’ve taken considerable time to think up.
Sure, a bunch of scenes are inspired from the treasure chest called Hollywood, but I will admit here - I guffawed at several moments and had my eyes wide at the sheer inanity of proceedings.
Sure, most of the laughter was ironic. One was laughing at the film. We know that these jokes are only funny because they’re the guilty pleasures that come via SMS and are reminiscent of our school days. It’s base, it’s private. It has always been. Suddenly you’re thrust in a theater where everyone is entertained and after a point you abandon judging them and yourself. This is what sets Grand Masti apart. Everyone is in on it. The actors know it, Indra Kumar knows it, Milap Zaveri knows it and they offer you a chance to let go. Question is, are we ready to accept that the next generation is going to grow up on this open forum where we talk and joke about sex in our movies?
The signs are upon us. In Hollywood two films – There’s Something About Mary (1998) and American Pie (1999) – paved the way for the gross comedy that is now a major genre. You remember the scenes, the ones involving hair gel and apple pie, even now. You remember because not only did they mortify the characters and us but they were also funny, and significantly – with top actors – mainstream. Adult films paradoxically targeted at the young. Bollywood’s foray into the genre, I suspect, is here to stay. Be prepared for many more Grand Mastis, just remember the choice is yours.
I am not celebrating Grand Masti like I did Delhi Belly (a film I had felt at the time would usher in change in the way we think of our cinema, much to the indignation of naysayers) because it does not share a similar level of artistic merit (hence the rating). But if Delhi Belly was the pressure cooker’s first whistle, Grand Masti has blown the lid off in terms of shaking up our content. In the history of art, this has never been a bad thing.
There have been similar films in the recent past – but they weren’t nearly as clever or well thought out – and almost always were incredibly sexist. Grand Masti is too, of course, but Milap Zaveri’s writing is definitely not lazy. There’s a proper plot, characters are reasonably detailed and have their ups and downs, a comic book villain, and the relentless innuendos must’ve taken considerable time to think up.
Sure, a bunch of scenes are inspired from the treasure chest called Hollywood, but I will admit here - I guffawed at several moments and had my eyes wide at the sheer inanity of proceedings.
Sure, most of the laughter was ironic. One was laughing at the film. We know that these jokes are only funny because they’re the guilty pleasures that come via SMS and are reminiscent of our school days. It’s base, it’s private. It has always been. Suddenly you’re thrust in a theater where everyone is entertained and after a point you abandon judging them and yourself. This is what sets Grand Masti apart. Everyone is in on it. The actors know it, Indra Kumar knows it, Milap Zaveri knows it and they offer you a chance to let go. Question is, are we ready to accept that the next generation is going to grow up on this open forum where we talk and joke about sex in our movies?
The signs are upon us. In Hollywood two films – There’s Something About Mary (1998) and American Pie (1999) – paved the way for the gross comedy that is now a major genre. You remember the scenes, the ones involving hair gel and apple pie, even now. You remember because not only did they mortify the characters and us but they were also funny, and significantly – with top actors – mainstream. Adult films paradoxically targeted at the young. Bollywood’s foray into the genre, I suspect, is here to stay. Be prepared for many more Grand Mastis, just remember the choice is yours.
Great grand masti movie 2016
Two films later, the Masti franchise has made the audience familiar with its template. How the monotony of marriage makes three buddies seek for some harmless fun, has proven to make for a few good laughs and a lot of moolah. Even in its third stint, the naughty popcorn entertainer offers ample chuckles sticking to the raunchy premise.
Director Indra Kumar plays on the plusses of his cast. He banks on the crackling camaraderie of Vivek, Aftab and Riteish. The three of them are loud but sincere. Their bromance and escapades (did we mean sexcapades?) doesn’t fail to tickle your funny bone. Urvashi Rautela (Yamaha Fascino Miss Diva-Miss Universe India 2015) delivers on every count. She is easy on the eyes, ups the oomph quotient, dances like a dream and has a catchy chemistry with the boys.
Kumar and his writers whip up a story about their tryst with the ghost of ravishing woman who died a virgin. She seeks sex to attain Nirvana. It could’ve been a lot funnier with some better writing.
The director makes his men stay dedicated to the goofy gags, which they pull off effortlessly. The lame innuendos, the silly jokes and humour about the genitals are judiciously packed into the script. Some of them will get you laughing and others might make seethe with rage. Be prepared to bear a lot of overacting. Aftab seems possessed by the spirit of Ranjit (he even sounds like him). Sanjay Mishra takes his gyaan from Karan Johar ( ‘Har pal yahan, jee bhar jiyo. Yeh dastaan, kal ho na ho?’ – he sermonizes). The film’s ladies are reduced to mere caricatures who are either nagging their ‘bitter’ halves or observing Karva chauth vrats.
For those who have a taste in adult comedies, Great Grand Masti is a fun weekend watch and one of the better ones we've seen this year. Go guffaw!
Director Indra Kumar plays on the plusses of his cast. He banks on the crackling camaraderie of Vivek, Aftab and Riteish. The three of them are loud but sincere. Their bromance and escapades (did we mean sexcapades?) doesn’t fail to tickle your funny bone. Urvashi Rautela (Yamaha Fascino Miss Diva-Miss Universe India 2015) delivers on every count. She is easy on the eyes, ups the oomph quotient, dances like a dream and has a catchy chemistry with the boys.
Kumar and his writers whip up a story about their tryst with the ghost of ravishing woman who died a virgin. She seeks sex to attain Nirvana. It could’ve been a lot funnier with some better writing.
The director makes his men stay dedicated to the goofy gags, which they pull off effortlessly. The lame innuendos, the silly jokes and humour about the genitals are judiciously packed into the script. Some of them will get you laughing and others might make seethe with rage. Be prepared to bear a lot of overacting. Aftab seems possessed by the spirit of Ranjit (he even sounds like him). Sanjay Mishra takes his gyaan from Karan Johar ( ‘Har pal yahan, jee bhar jiyo. Yeh dastaan, kal ho na ho?’ – he sermonizes). The film’s ladies are reduced to mere caricatures who are either nagging their ‘bitter’ halves or observing Karva chauth vrats.
For those who have a taste in adult comedies, Great Grand Masti is a fun weekend watch and one of the better ones we've seen this year. Go guffaw!
Great Grand Masti is about a ghost who needs sex. No, I’m not kidding. Ragini died a virgin. Her aatma won’t get shanti until she enjoys a suhaag raat. Enter our three heroes – Amar, Prem and Meet. If you’ve watched the earlier films in the franchise, you will know that they are all married but they function like dogs in heat - minimal intelligence and raging libidos. They are always, always looking for sex.
They come to the haveli where Ragini (Urvashi Rautela) resides – she wafts around wearing cholis so tight and so tiny that I was worried one would rip off if she took a deep breath. Ragini insists that they sleep with her willingly because, ‘masti ka mazaa zabardasti mein nahin hai’. But sleeping with her means death. And so our boys must save themselves and actually say no.
Paap ki kamai movie 2015
Two heroines, two phases of life - the instinctive prediction is that it is a typical romantic saga. However, ''‘‘Thangamagan’’'' is not the ordinary rigmarole. Velraj is a director-turned-cinematographer who created a revolution in his debut directorial. Does the spirit of VIP sustain through to ''Thangamagan’'' too? Family drama, romantic sweet tale, or a mystery story? Gear up for a roller coaster entertainment that is '' ‘Thangamagan’.
Story:
Son of a simple middle class family, Tamizh (Dhanush) is a happy-go-lucky lad, roaming about with his best bud (Sathish) and his cousin Aravind. All is well till Tamizh is smitten by Hema (Amy). While Sathish and Dhanush get along in wooing the lady love, Aravind feels left out and leaves their company hastily but willingly. Over time, Hema and Tamizh fall apart, and eventually Hema gets married to Aravind; Tamizh finds Yamuna (Samantha) and they are two happy families. The happiness cracks down from its pinnacle, one fine morning, when Tamizh''s father commits suicide. When no one understands why, the film is the story of Tamizh uncovering truth and finding answers, as a ‘Thangamagan’.
Screenplay:
The first forty minutes are spent in fun and romance. Amy and Dhanush share a juvenile, lively chemistry; their rapture is one that captures the spark and energy of first love. The point where it touches you strongly emotionally is their breakup. Highlighting the point where threshold breaks for every young couple, the dispute between dreams and duty is highlighted in its niché in this scene.
The family set up is portrayed in Titch reality, in every move of the Radhika-KSR couple. Importance given to the little nothings and the corresponding dialogues paints a complete rosy family portrait. As a dutiful man, questioned of his capacity, Ravikumar plays a realistic confused man. Radhika, a typical warm housewifely lady, acts the mom, like in every household. Sathish plays Kumaran, who aids a great deal in keeping the first half lively; his timing comedy is the perfect relief amidst all the dripping sweet romance.
While Amy''s role is appreciative in most parts, her strongest comes out only in the second half, as Aravind''s wife. Aravind plays one of the baddies; though straightforward and brief to put in words, he does justice to his role in its entirety. From holding a simple grudge, to holding back a sin, his role is one of the strongest in the movie. Jayaprakash plays another strong role, and as always, his presence is powerful in the film. Samantha breezes into the second half, and plays a predominantly supportive role, than grab the limelight as a heroine. Her presence is what adds the emotional in the present to the revenge story. This romance story is mature with age, yet simple in its purity.
The protagonist is captured in a different meter this time. Instead of jumping high with adrenaline, Dhanush plays a relatively composed and calm hero, always in control of the situation at hand, no matter how bad be it. This composure is what makes for the style of his on-screen role, as Tamizh. Without much stress on a signature, Dhansuh has still managed to convince as a strong hero. Tamizh is a charm to watch for, truly a golden son.
Backstage:
At his second attempt, Velraj has carved a spot for himself in the family entertainer sector. The film has a detailed story; however, most of it is pleated in the second half, while the first half is elaborate on the introduction alone. Albeit, this time allows for absorption of the characters, but also keeps us entertained tirelessly.
Kumaran''s camera is a classic piece of work. His intent in capturing the fine little intricacies has fallen well in their place in the movie. One of the strongest pillars of a movie is music - the album was brief, but the score compensates for the void. Background score by Anirudh is powerful, as would be expected of the rockstar; yet, it inevitably obviously bears resemblance to his previous works. Dialogues are strong and stand alone power-packed in places.
Where it scores:
1. The emotional bond between father and son has never been unduly stressed, yet the movie shows how strong the relation itself is.
2. Without too much money on the splurge, a typical middle class, close-knit, cool household is sketched beautifully.
3. Romance scores a point for the film
4. Dialogues hit the bull''s eye
Where it lacks:
1. The story is impressive, but hasn''t been distributed that well across the show time.
2. Characterisation of villains is not as clear as their presence in the story.
3. The film ends rather bluntly, with an unclear conclusion.
While his first was power-packed, ''Thangamagan’'' fails to hit the bull''s eye, unlike VIP. Setting the disappointment from expectation aside, ''Thangamagan'' is a family-oriented entertainer; however, the first half is youth-oriented.
Verdict: A little something for every audience
Satellite shankar movie
the audience can somehow cope with the first half of Irfan Kamal's Satellite Shankar, the second half rewards are sweet.
It's not that the first half does not have its moments, but the scene when Satellite Shankar (Sooraj Pancholi) meets Pramila (south side actress Megha Akash makes her Bollywood debut, and what a debut it is!).
Before the meeting, Shankar-Pramila's on-off romance on the phone and Meera's exploits (brilliantly played by Palomi Ghosh; she bagged the National Award for the Konkani film Nachom-ia Kumpasar) will endear moviegoers towards these young heartthrobs.
Satellite Shankar is a quiet, coy, good soldier.
While he enjoys a funny shootout with Pakistani soldiers when posted at the border, he is equally adept at spreading cheer among the morose family members of his friends from the Rashtriya Rifles.
The film makes a half-hearted effort to highlight the pangs of a soldier's life at the border and how families have to cope with long absences and dead bodies.
It exploits stereotypes about Kashmiri men (evil, stone-pelters) and women (good, saviours) to end at a climax that could have been done better.
Pancholi as Satellite Shankar comes across as an awkward, camera-shy actor with potential.
Though Satellite Shankar is his second film after Hero, he needs to work hard on his acting skills.
The only time he seems comfortable facing the camera is when he plays the angry soldier asking Meera -- a video blogger (reminds me of Nawazuddin's Chand Nawab in Bajrangi Bhaijaan), who meets Shankar accidentally, and then blogs about his adventures without his knowledge -- to stop creating a hero out of a soldier.
Though Pancholi fails to create a solid impression, it is the Megha Akash-Palomi Ghosh pair that keeps your interest alive during the first half of the film and lifts your overall experience in the second half.
Both Akash and Ghosh perk up the proceedings in between Satellite Shankar's heavy-duty action and good-Samaritan acts
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