Friday, January 13, 2017

Zaalima | Raees | Shah Rukh Khan & Mahira Khan |Song & Review 2017

The much awaited film Raees’ release date is just around the corner and we can’t wait to have more of our diva Mahira Khan who is making her Bollywood debut with the film.


Zaalima | Raees | Shah Rukh Khan & Mahira Khan | Arijit Singh & Harshdeep Kaur | JAM8





Song Credits:

Song: Zaalima

Movie: Raees (2017)

Singer: Arijit Singh, Harshdeep Kaur

Lyrics: Amitabh Bhattacharya

Music: J.A.M 8 (Just About Music)(Kaushik-Akash)





Zaalima Lyrics - Raees

Jo teri khatir tadpe pehle se hi
Kya usse tadpana o zaalima, o zaalima
Jo tere ishq mein behka pehle se hi
Kya usse behkana o zaalima, o zaalima (x2)

Aankhen marhaba, baatein marhaba
Main sau martaba deewana hua
Mera na raha jab se dil mera
Tere husn ka nishana hua

Jiski har dhadkan tu ho aise
Dil ko kya dhadkana
O zaalima o zalima

Jo teri khatir tadpe pehle se hi
Kya usse tadpana o zaalima, o zalima

Saanson mein teri nazdeekiyon ka
Ittr tu ghol de.. ghol de
Main hi kyun ishq zahir karun
Tu bhi kabhi bol de.. bol de (x2)

Leke jaan hi jaayega meri
Kaatil har tera bahaana hua

Tujhse hi shuru tujhpe hi khatam
Mere pyaar ka fasaana hua

Tu shama hai toh yaad rakhna
Main bhi hoon parwana
O zaalima o zalima

Jo teri khatir tadpe pehle se hi
Kya usse tadpana o zaalima, o zaalima

Deedaar tera milne ke baad hi
Chhute meri angdaayi
Tu hi bata de kyu zaalima main keh layi

Kyun iss tarah se duniya jahaan mein
Karta hai meri ruswayi
Tera kasoor aur zalima main keh layi

Deedaar tera milne ke baad hi
Chhute meri angdaayi
Tu hi bata de kyu zaalima main keh layi

Tu hi bata de Kyu zaalima main keh layi


Thursday, January 12, 2017

Why Does Friday the 13th Scare Us? this is History of a Phobia

1st Review :( Why Does Friday the 13th Scare Us? ) 



This year's only Friday the 13th is upon us, and it's paired with a full moon to boot. The occasional calendar quirk has revived old fears of bad luck and calamities ranging from auto accidents to stock market crashes.

Experts say such fears are long ingrained in Western culture, and they've been amply reinforced by the slasher-flick franchise featuring everyone's favorite hockey-masked murderer Jason Voorhees.

But take heart. Some research suggests you may actually be a bit safer on this ill-omened day. And superstitions, when not taken to extremes, can even give some believers a psychological boost.

Friday the 13th's mental benefits can include a sense of order, something that can be lacking in modern lives, said Rebecca Borah, a professor of English at the University of Cincinnati. Superstitions are attempts to understand and even control fate in an uncertain world. "When you have rules and you know how to play by them, it always seems a lot easier," she said. "If you have Dracula, you can pretty much figure out how to avoid him, or go out and get the garlic and be able to ward off evil. That's pretty comforting."

Friday the 13th can offer structure in a world where random and uncontrollable worries range from school shootings to extreme weather. "It's comforting in that we can sort of handle Friday the 13th," Borah added. "We don't do anything too scary today, or double check that there's enough gas in the car or whatever it might be. Some people may even stay at home—although statistically most accidents happen in the home, so that may not be the best strategy."

Fear Begets Fear


However, Stuart Vyse, a professor of psychology at Connecticut College in New London, pointed out that Friday the 13th certainly does have its dark side—even if we create it within our own minds.

"If nobody bothered to teach us about these negative taboo superstitions like Friday the 13th, we might in fact all be better off," he said in 2013.

People who harbor a Friday the 13th superstition might have triskaidekaphobia, or fear of the number 13, and often pass on their belief to their children, he noted. Popular culture's obsession with fear—think of those Friday the 13th horror films and even this story—helps keep it alive, added Vyse, the author of Believing in Magic: The Psychology of Superstition.

Although superstitions can be arbitrary—a fear of ladders or black cats, for example—"once they are in the culture, we tend to honor them," said Thomas Gilovich, a professor of psychology at Cornell University in Ithaca, New York.

"You feel like if you are going to ignore it, you are tempting fate," he explained in 2013.

Origins Rooted in Religion


The trepidation surrounding Friday the 13th is rooted in religious beliefs surrounding the 13th guest at the Last Supper—Judas, the apostle said to have betrayed Jesus—and the crucifixion of Jesus on a Friday, which was known as hangman's day and was already a source of anxiety, Vyse said.

The two fears merged, resulting "in this sort of double whammy of 13 falling on an already nervous day," he said.

The taboo against the number 13 spread with Christianity and into non-Christian areas, noted Phillips Stevens, Jr., an associate professor of anthropology at the University of Buffalo in New York. "It became extremely widespread through the Euro-American world, embedded in culture, [and] extremely persistent," he said in 2013.

More interesting, he noted, is why people associate any Friday the 13th with bad luck. The answer, he said, has to do with what he calls principles of "magical thinking" found in cultures around the world.

One of these principles involves things or actions: If they "resemble other things in any way of resemblance—shape or sound or odor or color—people tend to think those things are related and in a causal way," he explained.

In this framework, there were 13 people present at the Last Supper, so anything connected to the number 13 is bad luck.

Numerology


Thomas Fernsler, an associate policy scientist in the Mathematics and Science Education Resource Center at the University of Delaware in Newark, said the number 13 suffers because of its position after 12.

According to Fernsler, numerologists consider 12 a "complete" number. There are 12 months in a year, 12 signs of the zodiac, 12 gods of Olympus, 12 labors of Hercules, 12 tribes of Israel, and 12 apostles of Jesus.

Fernsler said 13's association with bad luck "has to do with just being a little beyond completeness. The number becomes restless or squirmy," he said in 2013.

Then there's Friday. Not only was Christ crucified on that day, but some biblical scholars believe Eve tempted Adam with the forbidden fruit on a Friday. Perhaps most significant is a belief that Abel was slain by his brother Cain on Friday the 13th.

Negative Effects


On Friday the 13th, some people are so crippled by fear that they lock themselves inside; others have no choice but to grit their teeth and nervously get through the day.

Interestingly, they may actually encounter a slightly less dangerous world. A 2008 study by the Dutch Centre for Insurance Statistics revealed that fewer traffic accidents occur on a Friday the 13th than on other Fridays. Reports of fire and theft also dropped, the study found.

Nevertheless, many people will refuse to fly, buy a house, or act on a hot stock tip, inactions that noticeably slow economic activity, according to Donald Dossey, a folklore historian and founder of the Stress Management Center and Phobia Institute in Asheville, North Carolina.

"It's been estimated that $800 or $900 million [U.S.] is lost in business on this day because people will not fly or do business they normally would do," he said in 2013.

To overcome the fear, Vyse said, people should take small steps outside their comfort zone. Those who are afraid to leave the house could consider meeting a close friend at a cozy cafe, for example.

"Try some small thing that they would be reluctant to do under normal circumstances and gradually experience, hopefully, no horrible thing happen when they push through and carry on," he said.





2nd review :( Friday the 13th , History of a Phobia )



To understand Friday the 13th’s fall from grace, scholars have first tried to determine what about the number 13 rubs so many people across so many cultures the wrong way. Some have suggested that its nasty reputation dates back to at least 1780 B.C., when the ancient Babylonian legal document known as the Code of Hammurabi was enacted without a 13th law; this hypothesis has been questioned, however, since the original text did not include numeration. Others have pointed out that 13’s younger sibling, the number 12, traditionally signifies completeness: There are 12 signs of the zodiac, 12 months of the year, 12 hours on the clock and 12 tribes of Israel, among other famous dozens. Anywhere outside a bakery, then, 13 is considered a transgression of this rule.

But why are Fridays that fall on a month’s 13th day so vilified? According to biblical sources, Friday was the day on which Eve offered Adam the forbidden fruit and Jesus was crucified. Another popular theory links the superstition to the demise of the Knights Templar, a monastic military order whose members were arrested en masse by France’s King Philip IV on Friday, October 13, 1307.

Popular culture further denigrated Friday the 13th as early as 1907, when Thomas Lawson wrote a book about a broker who tries to bring down Wall Street on that day. Then, the American cultural touchstone that is the “Friday the 13th” horror film franchise debuted in 1980, forever associating the day with a machete-wielding psychopath in a hockey mask. The most recent installment premiered in 2009.

Over the years, attempts have been made to debunk the notion that 13 is an unlucky number and prove that Friday the 13th is a day like any other. In the 1880s a group of influential New Yorkers formed a club for that express purpose, taking particular offense at the unwritten rule against seating 13 people at a table. (Legend had it that one of the 13 would die within a year, a belief that may have roots in the story of Jesus’ last supper, and that one guest would become seriously ill if the meal took place on Friday the 13th.) The group’s leader was William Fowler, a Civil War veteran with a defiant fondness for the dreaded figure: He had served with distinction in 13 major battles, retired from the army on August 13, 1863, and leased the club’s future headquarters, a Manhattan tavern called the Knickerbocker Cottage, on the 13th day of the following month.

Fowler officially founded the Thirteen Club in 1880 and invited his acquaintances to dine together in groups of 13 on the 13th day of each month. It would take a year for the decorated captain to draft 13 men plucky enough to attempt the feat. Finally, the inaugural dinner took place on Friday, January 13, 1881, in room 13 of the Knickerbocker. Since Fowler and his like-minded recruits hoped to flout as many old wives’ tales as possible, they entered by walking under a ladder and sat down to a table covered in spilled salt. Fowler’s brainchild became one of New York’s most distinguished and popular clubs, attracting nearly 500 members by 1887. Other branches cropped up in other cities, some of which were open to women at a time when men dominated the country’s social clubs. By the time the last of the Thirteen Clubs closed in the 1940s, five presidents had been granted honorary membership.

So how unlucky is Friday the 13th, really? Experts say accurate data is impossible to collect since many people around the world avoid certain activities, including travel and surgery, on that day. A 2008 Dutch study concluded that fewer automobile accidents, fires and crimes occur on Friday the 13th, adding the caveat that superstitious would-be victims may simply have stayed out of harm’s way. Past Black Fridays notwithstanding, Friday the 13th may actually be a boon for finance: According to CNBC, the market has been up 80 times out of the past 140 Friday the 13ths.

Sunday, January 8, 2017

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Saturday, January 7, 2017

‘The Girl on the Train’ Review 2016


IMDb : 6.6/10

Director: Tate Taylor
Writers: Erin Cressida Wilson (screenplay), Paula Hawkins (novel)

Storyline

The Girl on the Train is the story of Rachel Watson's life post-divorce. Every day, she takes the train in to work in New York, and every day the train passes by her old house. The house she lived in with her husband, who still lives there, with his new wife and child. As she attempts to not focus on her pain, she starts watching a couple who live a few houses down -- Megan and Scott Hipwell. She creates a wonderful dream life for them in her head, about how they are a perfect happy family. And then one day, as the train passes, she sees something shocking, filling her with rage. The next day, she wakes up with a horrible hangover, various wounds and bruises, and no memory of the night before. She has only a feeling: something bad happened. Then come the TV reports: Megan Hipwell is missing. Rachel becomes invested in the case and trying to find out what happened to Megan, where she is, and what exactly she herself was up to that same night Megan went missing.

The Girl on the Train (2016) - Review 

It’s no wonder Paula Hawkins’ debut novel, The Girl on the Train, was quickly pegged “the next Gone Girl,” or that DreamWorks scooped up the film rights a year before the novel hit shelves. It's a murder mystery from the perspective of an unreliable narrator, full of seedy twists and turns. It has all the makings of a hit. But here’s a hot take: Despite topping the bestseller list, Hawkins’ book isn’t very good. Piggybacking on the hype for Gillian Flynn’s work, the novel uses a gimmicky narrative structure to glorify violence. That could’ve worked as a high-intensity thriller, but director Tate Taylor’s (The Help) adaptation bears many of the same shortcomings as the novel, resulting in a sluggish mess of self-seriousness.

Emily Blunt plays the title character, Rachel Watson, an unemployed, depressed alcoholic who commutes into the city each morning so her roommate won’t know she’s lost her job. Every day the train stops in front of the same set of Hudson Valley homes. In Rachel’s old house, her ex-husband Tom (Justin Theroux) now lives with his new wife Anna (Rebecca Ferguson) and their baby. Just a few doors down are Scott (Luke Evans) and Megan Hipwell (Haley Bennett), a couple Rachel grows obsessed with. But her fantasies of their picturesque marriage shatter when Rachel, hung over with messy hair and smeared eyeliner, spots Megan kissing another man on the balcony. On the evening train back, Rachel drunkenly disembarks. She blacks out and wakes up the next morning covered in blood. She can’t remember what happened, but learns Megan Hipwell has gone missing and was last seen the same night Rachel was wandering her street.

The most compelling part of The Girl on the Train is its potential to explore the diverging perspectives of its three female leads. The film, like the book, shifts between the viewpoints of Rachel, Megan, and Anna. Erin Cressida Wilson’s script does a much smoother job moving between these women than its source material, and if it had developed those transitions into a crafty psychological thriller, it could have been a fantastic exorcise in suburban ennui and a feminine fetishization of violence. Alas, that’s not the movie we got.

Instead, Taylor made a cringe-worthy collection of exposition and unimaginative visuals. The filmmaking is so devoid of subtlety and on-the-nose it’s laughable. One shot observes Rachel drunkenly passing a liquor store on her way to a bar while the shadows of mini liquor bottles flash across Blunt’s face and the score rises dramatically – the alcohol, it’s CONSUMING HER! Taylor also tries to dramatize moments with cheesy slow motion close-ups of his actors, and random insert shots of their bodies. There’s more skin in this movie than good acting.

Sometimes bad filmmaking can be pretty entertaining, but this movie has no sense of fun. Taylor approaches the material with a solemnity that makes the performances (or lack thereof) all the more laughable. At one point Rachel kidnaps Anna’s baby, then after staring blankly for a beat or two, she drops it and awkwardly runs away towards the train tracks. It’s a ridiculous moment. Why is she running towards the train? She’s really just going to leave the baby there? No thinking person would react this way! In the brutal final sequence (the only entertaining part of the movie) a character watches a fit of insane violence from her bedroom window, and just stands there, totally expressionless. (It’s worth noting, something similar happens in Hawkins’ novel.)

Where Ferguson and Bennett’s performances are mostly mute staring, Blunt is at least given some material to work with, and she certainly tries her hardest with it. She’s been great in films like Sicaro channeling internal decay and quiet tremors of panic, and she gets to play similar notes here. Blunt gets close to something powerful at times, but in most scenes she verges on caricature, slurring her words, staring dizzily into the camera, and stumbling out of a bathroom. It’s Drunk Acting 101, and Blunt’s more talented than that.

There are some things about The Girl on the Train that work better in the movie than the book. Taylor and Wilson’s rearrangement of major plot points make for a much clearer narrative that’s easier to follow. It also sets up a much more surprising twist, which arrives in a jolt, the first time the film finally comes to life. The flashbacks, jumps between character perspectives, and Rachel’s shards of hazy blackout memories are also more compelling when shown onscreen than on the page. But Taylor’s film lacks the suspense required of a thriller. It’s a cheap exploitation of the horrors of alcoholism, depression, and domestic abuse that thinks it’s much smarter and artsier than it is.





'Malena' review 2010


IMDb : 7.5/10

Director:     Giuseppe Tornatore
Writers:     Giuseppe Tornatore (screenplay), Luciano Vincenzoni (original story)

Storyline

Malèna is about the peril of a beauty through the eyes of a 12 year old kid named Renato. He experiences three things on the same day, beginning of war, getting a bike and sees the arrival of Malèna in town. Through his eyes, we see the curse of beauty and loneliness of Malena, whose husband is presumed to be dead, and through his soul we see his undying love for her. Written by Paul

Malena (2010) - review


The year is 1940 and the place is the picturesque (and fictional) town of Castelcuta, Sicily. 13-year old Renato Amoroso (Giuseppe Sulfaro) is about to experience his first major adolescent crush when he catches a glimpse of Melena Scordia (Monica Bellucci). Melena, the daughter of Latin teacher Professor Bonsignore (Pietro Notarianni), has come to Castelcuta to care for her father while her husband is away at war. As Malena walks by, every man's head turns and women's tongues wag with scathing gossip. Then Melena's husband is killed in the war and she becomes free to pursue and be pursued by Castelcuta's male population. Meanwhile, Renato, whose infatuation develops into an obsession, begins spying on Malena and, in the process, learns that the "real" Malena is much different than his idealized portrait of her.

Ultimately, this is really Renato's story. He is the narrator (gazing back through the mists of decades at his childhood) and the emotional focus of the story is on how his perception of Melena helps him to develop into a man. When the film begins, he is in short pants (a sign of childhood), but, before it ends four years later, he has made the symbolic transition to long pants and burgeoning adulthood. Through it all, his obsessive interest in Melena is a constant companion, even though he never speaks to her. For Renato, she represents the unattainable, and his affections are clearly unrequited. Nevertheless, as her reputation in Castelcuta deteriorates and she is branded a prostitute, he feels betrayed by her because she is unable to live up to the mental image he has constructed of her.

Malena begins as a lighthearted drama that recalls one of Federico Fellini's best-known works, Amarcord. Tornatore does not have Fellini's deft hand, however, and the story eventually takes a dark turn, with some of its themes and ideas recalling the late Krzysztof Kieslowski's A Short Film About Love, in which a young voyeur comes has his fantasy picture of a woman brutally shattered by an encounter with her. The shifts in tone may make some viewers uncomfortable (especially one scene of graphic brutality that depicts what happens to Malena when she is subjected to the justice of the women of Castelcuta), but they work if we consider that the story is being presented as a series of conflicted and at times incomplete memories of someone who saw Malena as everything from a Madonna to a whore.

Malena isn't really a character; she's a vision to enflame Renato's imagination (not to mention other parts of him). As such, the key achievement for model-turned-actress Monica Bellucci is to look stunning - something she has no difficulty with, whether clothed or unclothed. Bellucci does a good job of making Melena seem aloof and stand-offish (which is how she appears to Renato), except during one or two scenes when her dire circumstances show her vulnerability. For his part, newcomer Giuseppe Sulfaro, who was discovered after an extensive casting search, does solid work portraying a boy whose guide through puberty is an untouchable woman. (When his father brings him to the local brothel to be initiated into the world of sexual maturity, Renato chooses a prostitute who strongly resembles Malena.)
One of the most powerful elements of Malena is the music, by frequent Tornatore collaborator and legendary composer, Ennio Morricone. Combined with cinematographer Lajos Koltai's sweeping camera work and beautifully photographed vistas, the music gives Malena a glorious backdrop against which the story can unfold. This is not the writer/director's most accomplished feature (Cinema Paradiso is a more complete and emotionally satisfying experience), but it offers a strong central character, an interesting historical subtext, and a coming-of-age narrative that most people will be able to relate to on one level or another.


Movie Clips here : 10 HD Video clips of malena Movie 2010


Wednesday, January 4, 2017

27 Health and Nutrition Tips



27 Health and Nutrition Tips.


1. Don’t Drink Sugar Calories

2. Eat Nuts

3. Avoid Processed Junk Food (Eat Real Food Instead)

4. Don’t Fear Coffee

5. Eat Fatty Fish

6. Get Enough Sleep

7. Take Care of Your Gut Health With Probiotics and Fiber

8. Drink Some Water, Especially Before Meals

9. Don’t Overcook or Burn Your Meat

10. Avoid Bright Lights Before Sleep

11. Take Vitamin D3 if You Don’t Get Much Sun

12. Eat Vegetables and Fruits

13. Make Sure to Eat Enough Protein

14. Do Some Cardio, or Just Walk More

15. Don’t Smoke or do Drugs, and Only Drink in Moderation

16. Use Extra Virgin Olive Oil

17. Minimize Your Intake of Added Sugars

18. Don’t Eat a Lot of Refined Carbohydrates

19. Don’t Fear Saturated Fat

20. Lift Heavy Things

21. Avoid Artificial Trans Fats

22. Use Plenty of Herbs and Spices

23. Take Care of Your Relationships

24. Track Your Food Intake Every Now and Then

25. If You Have Excess Belly Fat, Get Rid of it

26. Don’t go on a “Diet”

27. Eat Eggs, and Don’t Throw Away The Yolk


'Miss Teacher' Review 2016



IMDb :  3.2/10

Director:              Jai Prakash
Producer:              Rajesh Shukla , Sanjay Singh Rajput
Music Director:   Nitin Bali , Sameer Tandon
Lyricist:               Nitin Bali , Sandeep Nath
Playback Singers: Kailash Kher , Nitin Bali


Storyline


Rose Dey is the new teacher at the university. She is very attractive and is a nymphomaniac. At the university, Rose meets Tanvesh and an affair begins.


Miss Teacher (2016) - Review

Miss Teacher is an Romance film directed by Jai Prakash and produced by Rajesh Shukla and Sanjay Singh Rajput. It features Kamalika Chanda and Mustaq Khan in the lead roles while Rahul Sharma and Resham Thakkar appear in crucial supporting roles. Ajay Naikar handles the cinematography.
Here we are with updates of an awaited and trending movie. We are here with the success report of the trending movie i.e. Miss Teacher. The movie is an adult $ex movie which is released on 18th March 2016. The film is on hype from its first day of release.
People are giving it a good reviews and ratings and as the movie is thriller one thus a large number of people liked the film. The film is directed by Jai Prakash and produced by Breed Cinemas. The movie is a “C” grade film and is not compatible for normal audience. The film is quite amazing and good in story and casting. A wide range of visitors punched their tickets for the first day release of the film.
Kamalika Chanda, Resham Thakkar, Rahul Sharma, Mustaq Khan and Adi Irani etc. are playing the crucial role of star cast of the film. The makers didn’t focused on the thinking and choice of all the audience rather they made the movie Miss Teacher for “C” grade audience. Sanjay Singh Rajput and Rajesh Shukla are the co-producer of the film.
The film is expected to go low in terms of collection as there are a large number of release on the this particular Friday. Screenplay of the film is good which may attract a number of people. The story of the film Miss Teacher is based on a seductive teacher who comes in college and starts making boys of the college as her victim.
Music for the film is given by Nitin Bali, Sameer Tandan and Ankit Tiwari. The film captured a rating of 1.5 stars out of 5 which shows taht the movie had a low impact on audience and also the film not meant to show case as it is downgrading the value of Teachers. The film is expected to collect Rs. 55 lakh on its very first day of release.



Full Movie Here : 

Jolly LLB 2 | GO PAGAL Video Song - Review | Akshay Kumar | Subhash Kapoor | Huma Qureshi 2016

Akshay Kumar‘s Jolly LLB 2 has been the talk of the town thanks to its trailer and the fact that it’s a sequel to the 2013 sleeper hit and National award winning film Jolly LLB. The teaser of the first song was out yesterday and left us excited with its craziness and its backdrop of Holi. The music is composed by Manj Musik and the song is sung by Raftaar and Nindy Kaur.


             



Director Subhash Kapoor says, "Go Pagal comes at a very crucial juncture in the film. It has been shot in a Lucknow court."
Choreographed by Bosco, the track has a raw and rustic feel to it. Subhash elaborates, "There is a certain masti associated with the way Holi is played up North, where bhang is an integral part of the festival, just like playing in the mud, making a makeshift pool, filling it with colours and throwing people into it. We've shot the song the way Holi is played in Uttar Pradesh."
The team used about 500 kilos of eco-friendly colours for shooting the song over four days. Subhash says, "Akshay and Huma were absolutely cool and not once did they complain about the colours. They liked the song very much and were keen to shoot it in Lucknow. We were all looking forward to it."
Of the nearly 400 dancers in the song, 100 travelled from Mumbai, while the remaining were locals. The director reveals, "We contacted dance schools in Lucknow and nearby areas and requested them to send their students. They were very excited and more than happy to oblige."
The filmmaker also lets in that art director Gautam Sen built a realistic set — that of a court — on an existing structure. When asked about the quintessential Akshay element in the song, Subhash asserts that the energy his lead actor has put in is superb.

"As for the Holi song, the step that Akshay does with a steel bucket is looking very cool. We love the song and hope people like it too," he sums up.

‘Jack Reacher: Never Go Back’ Review 2016



IMDb : 6.2/10


Director: Edward Zwick
Writers: Richard Wenk (screenplay), Edward Zwick (screenplay)

Storyline

After accomplishing the assignment of dismantling a human trafficking organization, the former military and drifter Jack Reacher goes to Washington to invite his liaison Major Susan Turner to have dinner with him. However, he meets her substitute Major Sam Morgan that explains that Major Turner is arrested accused of espionage. Jack seeks out her veteran lawyer Colonel Bob Moorcroftthat explains that Major Turner is the also accused for the murders of two soldiers in Afghanistan. Further, he also tells that Jack is being sued, accused by a woman of being the father of her fifteen year-old daughter Samantha. When Moorcroft is murdered, Jack is accused of being the killer and sent to a prison. He sees that Turner and he have been framed and also that Turner will be killed by two assassins. However he rescues her and they flee; soon they realize that there is a conspiracy involving military people from the army and a contractor that is a powerful arm dealer. Jack also learns that ... Written by Claudio Carvalho, Rio de Janeiro, Brazil


Jack Reacher: Never Go Back (2016) - Review

Jack Reacher: Never Go Back is the second Reacher film, based on the 18th Reacher novel. Cruise returns as the wandering vigilante/detective/do-gooder, who, as the film begins, takes down a dirty small-town sheriff without a single punch. You know the expression “I could beat him with one hand tied behind my back!”? Reacher beats this sheriff with both his hands cuffed behind his back. This guy is good.
Next he’s off to Washington D.C. to meet Major Susan Turner (Cobie Smulders) his replacement as commanding officer of a unit of Military Police. When arrives at Turner’s office for his appointment, though, she’s been imprisoned and charged with treason. Then her lawyer winds up dead! Guess who gets framed for the murder! Then guess who decides to break Turner out of jail! Then guess what happens next! If you guessed “Jack Reacher,” “Jack Reacher,” and “They prove their innocence and beat the bad guys,” congratulations; you have seen a movie before.
It’s not a particularly original concept, but neither is the basic idea of Jack Reacher, who’s a modern version of The Man with No Name or Sanjuro from Yojimbo; the wandering hero who roams the wilderness inserting himself into disputes and then resolving them, with force if necessary. In movies like this, it’s all about the execution and the variations on the formula. Never Go Back succeeds on both counts. Cruise is typically intense with many enjoyable ludicrous fight sequences (the film feature multiple scenes of Tom Cruise leaping off of roofs onto bad guys) and director Edward Zwick, who previously worked with Cruise on The Last Samurai, mixes up the character dynamics by sticking Reacher, the ultimate loner, into a surrogate family situation, when he’s forced to go on the run with Major Turner and a young girl (Danika Yarosh) who might be related to him.
The three-way friction between Reacher and the two women doesn’t yield quite as many sparks as it should, given the amount of screen time Zwick devotes to it, but Smulders makes a strong, physical foil for Cruise. Punching, kicking, and keeping stride with the Most Famous Runner In Movie History, Smulders shows off significant action chops; this is probably the role she was hoping for when she agreed to play Marvel’s master spy Maria Hill. In one notable sequence, she gets to challenge Reacher’s slightly sexist attitudes, and denounce the male-dominated world of the military. She even mentions being pawed at by fellow officers, making this action thriller about a man who threatens to break a man’s legs, arms, and neck, and then does it in that order a weirdly timely commentary on gender politics in 2016.
Although Reacher still projects an aura of invincibility in public, he often limps and groans in private; a small but effective grace note from Cruise and Zwick. At 54, Cruise must be nearing the end of his time as an unstoppable action star, just as Reacher surely can’t keep throwing guys through walls forever. 
You will note I have not mentioned any of the film’s villains yet. They’re not Never Go Back’s strongest element. They’re mostly generic and obvious evildoers, none of which come close to matching the slithering charisma of Werner Herzog as “The Zec” in the first Jack Reacher. Robert Knepper plays a defense contractor named General Harkness, who is very clearly evil because he’s played by Robert Knepper. Patrick Heusinger bears the unenviable responsibility of facing Tom Cruise in several hand-to-hand showdowns. This is a bit like a D-League team trying to beat the 2015-16 Golden State Warriors at home. You pretty much know you’re going to lose right from the start, but you try your best and hope for a miracle.
Never Go Back could have used a bit more personality in the bad guy department, and the middle section sags a bit before the inevitable (and satisfying) denouement. But everyone involved seems to understand exactly what kind of movie they’re trying to make, and they deliver on just about every promise made by the title Jack Reacher: Never Go Back. Smulders makes a strong addition to the series, and Cruise gives the 1,000 percent he brings to every single role. Looking back at my review of the first Jack Reacher from 2012, I find that my final sentence and rating from that piece still applies: “If you're looking for something lean and unpretentious, you should be pretty satisfied.”

‘Doctor Strange’ Review 2016



IMDB : 7.9/10

Director: Scott Derrickson
Writers: Jon Spaihts, Scott Derrickson

Storyline

Marvel's "Doctor Strange" follows the story of the talented neurosurgeon Doctor Stephen Strange who, after a tragic car accident, must put ego aside and learn the secrets of a hidden world of mysticism and alternate dimensions. Based in New York City's Greenwich Village, Doctor Strange must act as an intermediary between the real world and what lies beyond, utilising a vast array of metaphysical abilities and artifacts to protect the Marvel Cinematic Universe. Written by Marvel


Doctor Strange (2016) - Review

Strange’s career gets derailed in an instant on a rainy mountain road. Distracted while texting and driving (there’s even a PSA in the end credits warning people that’s a bad idea), he crashes his sports car and damages his hands beyond repair. Desperate for a cure, Strange eventually makes his way to Kathmandu, where he encounters a mysterious woman known only as the Ancient One (Tilda Swinton), who might hold the key to a magical cure. That, she says, will take years of practice and study in the mystic arts, but Strange, with his brilliant mind and photographic memory, makes for a quick study. In no time, he rivals Mordo (Chiwetel Ejiofor) as the Ancient One’s top disciple. Good thing too, because as Strange builds his skills, one of the Ancient One’s former pupils, a man named Kaecilius (Mads Mikkelsen) is amassing power and followers, in the hopes of accessing a dark dimension and bringing about the end of life on Earth.

The stuff leading up to Strange’s arrival in Kathmandu are pure Marvel boilerplate, but director Scott Derrickson finds his footing once the Ancient One literally punches Strange’s soul out of his body and sends him on a mind-warping journey through time and space. The magnificently kaleidoscopic scene that follows looks like something ripped straight out of the pages of classic Doctor Strange comics by Stan Lee and Steve Ditko. The sorcerers in Doctor Strange can bend physics to their will, entering places like the “Mirror Dimension” where gravity shifts and skyscrapers warp like the ones in Christopher Nolan’s Inception. Those sequences are all showstoppers; surreal, creepy, and thrilling.
Maybe no human character could rate with such glimpses of the infinite, but Doctor Strange’s cast doesn’t even come close. Cumberbatch certainly looks the part and strikes a dashing figure in his magnificent costume by Alexandra Byrne, but he rarely steps out of the shadow of the Marvel heroes who’ve come before. He doesn’t get the opportunity to make this guy unique, and his attempts at comedy generally fall very flat. That includes Dr. Strange’s wacky sentient cape, which likes to pull him around or bonk his enemies on the head.


Cumerbatch doesn’t have much chemistry with McAdams, whose role is almost entirely superfluous. She’s not even a damsel in distress, since she spends the entire film sidelined in Strange’s old hospital waiting for him to show up for medical attention. Mikkelsen, an actor of incredible range and depth, is called upon to play a mean guy with spooky eyes, an enormously frustrating waste of his talents. The only actor who makes a memorable impression is Swinton, with her strange affect, scarred bald head, sleek martial arts moves, and curious musings about the great beyond.

‘Collateral Beauty’ Review 2016



IMDB : 6.4/10

Director: David Frankel
Writer: Allan Loeb

Storyline

When a successful New York advertising executive suffers a great tragedy, he retreats from life. While his concerned friends try desperately to reconnect with him, he seeks answers from the universe by writing letters to Love, Time and Death. But it's not until his notes bring unexpected personal responses that he begins to understand how these constants interlock in a life fully lived, and how even the deepest loss can reveal moments of meaning and beauty Written by Warner Bros

Collateral Beauty (2016) -Review

We get to see the Will Smith we love — gregarious, charming, perfect smile — for just one scene, the first in the film. He plays Howard Inlet, a successful ad executive rallying his company with an inspiring speech about the three primal forces in life: Love, time, and death. These three concepts determine everything we do and everything we buy.  As Howard delivers his message, his partners, Whit (Edward Norton), Claire (Kate Winslet), and Simon (Michael Peña), watch with rapt attention. All is right in the world.
A single camera movement fast-forwards past three years, and Howard morphs into a graying, moping shell of a man. In the interim, Howard’s daughter died, and he still can’t handle his grief. He still shows up at his company’s chic New York office every day, but not to work. Instead he spends weeks building elaborate domino shows and then toppling them over. With its creative genius uninterested in his job, Howard’s business begins to falter, and his partners decide the only course of action is to sell the place to a bigger company. But Howard controls too many shares, and he refuses to even discuss the possibility of a sale — or anything else, for that matter. After the opening scene, Smith barely speaks for 30 minutes.
Smith spends a lot of Collateral Beauty’s first act in the background while Whit, Claire, and Simon engineer a scheme that is misguided at best and morally repulsive at worst. Fearful for their jobs and financial futures, they hire a group of actors from a nearby theater company to portray Howard’s three abstract concepts — Love, Time, and Death — and interact with him in public places. They plan to film him talking to these actors (played by Keira Knightley, Jacob Lattimore, and Helen Mirren, respectively), then digitally erase them from the footage so it looks like Howard’s talking to himself, then present that as evidence at a board meeting. That should get Howard deemed mentally incompetent and enable the other partners to sell the business out from under him.
Short of actually murdering Howard or digging up his dead daughter’s corpse for kicks, this seems like the worst thing his three best friends could do to him. The film eventually drops a couple of outlandish third-act twists, but nothing about Collateral Beauty’s ending is half as shocking as the fact that it treats its central conspiracy not as a monstrous betrayal, but as cutesy fodder for an inspiring Christmas dramedy full of warm lessons and tearful reconciliations. Each of Howard’s partners has their own issues to deal with, and each gets paired off with the actor portraying the abstract concept relevant to their problem. Knightley teaches Norton about how to reconnect with his teenage daughter, Lattimore tries to convince Winslet that it’s not too late to start a family, and Mirren counsels Peña about how to address a secret he’s hiding from his wife. And so they all grow and mature while, y’know, ruining their friend’s career forever.
This is the most baffling choice in a movie that might as well be called Baffling Choices. So many of the decisions by director David Frankel and writer Allan Loeb make absolutely no sense. Why would you cast Will Smith in a role where he barely speaks, vanishes completely for long stretches, and gets tortured by his so-called friends? Why pepper a movie about a borderline suicidal man and the death of his young child with so many jokes? Why treat the first half of this story like a comedy but hire no actual comedians to play the leading roles? Why clog the ending of your straightforward story of loss and healing with multiple plot twists?
These mysteries will surely turn Collateral Beauty in a legendary Hollywood movie, one that’s not so much so-bad-it’s-good as so-bad-it-doesn’t-seem-real. The subject matter is too consistently depressing, and the visuals too competently mounted  for Collateral Beauty to become a cult favorite. But those that do see it will remember it forever.


‘Silence’ Review 2016



IMDB : 7.7/10

Director: Martin Scorsese
Writers: Jay Cocks (screenplay), Martin Scorsese (screenplay)

Storyline

The story of two Catholic missionaries (Andrew Garfield and Adam Driver) who face the ultimate test of faith when they travel to Japan in search of their missing mentor (Liam Neeson) - at a time when Catholicism was outlawed and their presence forbidden.


Silence (2016)-Review

Martin Scorsese has reportedly been trying to make an English-language adaptation of Shūsaku Endō’s novel Silence for upwards of 25 years. Watching the finished movie, it’s easy to see why he fought so hard to make it — and why it took so long to get someone to finance and distribute it. Silence encapsulates many of Scorsese’s most deeply felt themes: ideas about faith, sin, and guilt he’s considered in film after film for decades. But it does so in a package that is slow, dry, and a little monotonous. Fans  will hail Silence as a passionate and perceptive career summation. Silence’s critics will likely agree — while wishing that summation wasn’t such a slog.
To be fair, the deliberate pacing is wholly by design; a brisk, jaunty film about religious persecution wouldn’t exactly work. The story begins in 17th century Japan, where Catholics, including Liam Neeson’s Father Ferreira, are tortured and killed for their beliefs. Ferreira writes an account of the persecution and sends it back to Portugal, where it’s read to two of his former students, Sebastião Rodrigues and Francisco Garrpe (noted Portuguese actors Andrew Garfield and Adam Driver). Despite the protestations of their church, Rodrigues and Garrpe take it upon themselves to travel to Japan to locate Ferreira, to see if the rumors that he apostatized are true, and to rescue him if possible.
When they arrive, the two Jesuits find sanctuary with a secret community of Catholics, but eventually they must reckon with the same forces that threatened Ferreira. Although the bare bones premise sounds like a heroic adventure movie, don’t expect Silence to turn into Saving Padre Ryan. Scorsese instead focuses on Rodrigues and his impossible decision: Renounce his faith and spare others from horrific suffering, or hold firm to his beliefs, even though he knows it will result in sadistic abuse and murder from his captors .
Silence’s early scenes are filled with dread and the natural beauty of the Japanese landscape. High-angle shots observe the characters from above, suggesting a divine presence watching these events; God’s here somewhere, but will he intervene to stop his followers’ suffering? That’s one of the questions that lingers as Inoue escalates his psychological assault and Scorsese narrows his film’s focus. The others boil down to Rodrigues’ choice: Will he or won’t he? Those questions don’t matter if Rodrigues’ captivity looks comfortable or Inoue’s manipulations seem simple. But you really need to be invested in this character and the spiritual dimension of his struggle to maintain interest for Silence’s full 161-minute runtime. Its ending seems like a foregone conclusion long before it arrives, and in the interim Scorsese repeats the same cycle of confrontations over and over.
Again, if the goal was to put the audience into the mindset of a man beaten down by weeks, months, and even years of mistreatment, mission accomplished. But there’s an intensity that we’ve come to expect from a Scorsese picture that’s missing from Silence, even with its potent subject matter and occasionally graphic violence. With his mastery of composition, editing, and music, Scorsese has made some of the most engaging movies in history, experiences that express fascinating ideas through gripping stories, compelling characters, and unparalleled craft. Here, all of those elements seem sublimated to the larger points Scorsese wants to make.
The most compelling character is one who keeps creeping into Rodrigues’ story from the fringes — a local named Kichijiro (Yosuke Kubozuka). He’s already apostatized before the Jesuits arrive in Japan, and throughout Silence he waffles back and forth between belief and self-preservation; renouncing his religion when it suits him, begging for forgiveness from Rodrigues and God at others. Kichijiro’s endless failings mark him as the most relatable person in the film, and Scorsese seems to view him with particular pity and compassion. His casting of Neeson is clever too; seeing one of recent cinema’s preeminent badasses — an action hero who’s brawled his way through hundreds of bad guys without a scratch — utterly destroyed tells you everything you need to know about the forces bearing down on the Jesuits.
The religious implications at Silence’s core are arresting and challenging (Scorsese’s opinion of Rodrigues’ actions seems ambivalent at best), but the movie surrounding them I often found frustrating. There are several sequences of incredible power , but others remain oddly inert, and the film’s overall rhythm held me at arm’s length. I got Silence’s meaning, but rarely felt its intended impact.
 This is the sort of movie that you need to see.