Movie Review -InspectSpot Media

Wednesday, February 6, 2019

द रिटर्न ऑफ अभिमन्यु (इरुम्बु थिराई) हिंदी वर्जन रिलीज

विशाल की दी रिटर्न ऑफ़ अभिमन्यु (इरुम्बु थिराई) की हिंदी डब संस्करण की रिलीज़ की तारीख की पुष्टि हो गई।

इरुम्बु थिराई, एक तमिल भाषा एक्शन थ्रिलर फिल्म है, जिसका निर्देशन पी. एस. मिथ्रान ने किया है। विशाल, अर्जुन सरजा और सामंथा अक्किनेनी फिल्म में मुख्य भूमिकाओं में हैं। तमिल भाषा में फिल्म 11 मई 2018 को दुनिया भर में रिलीज़ हुई। इरुम्बु थिराई में सामंथा अक्किनेनी को अपने करियर में पहली बार विशाल के साथ काम करने का मौका मिला था।

जैसा कि सभी जानते हैं कि 'गोल्डमाइंस टेलीफिल्म्स' ने फिल्म को हिंदी में डब किया है। और फिल्म का शीर्षक "द रिटर्न ऑफ अभिमन्यु" है। कुछ मोशन पिक्चर के बाद, फिल्म, टेलीविज़न और यूट्यूब रिलीज़ की हिंदी डब संस्करण के टीज़र और ट्रेलर लॉक हो जाते हैं। यह फिल्म 10 फरवरी को रात 8 बजे स्टार गोल्ड टीवी चैनल पर प्रसारित की जाएगी और उसी रात 11 बजे इसे गोल्डमाइंस टेलीफिल्म्स के आधिकारिक यूट्यूब चैनल पर अपलोड किया जाएगा।


फिल्म की कहानी में मेजर काथिरावन ने अपनी बहन की शादी के लिए जाली कागजात का उपयोग करके एक बैंक से पैसे उधार लिए। हालांकि, जब उसके खाते से पैसे गायब हो जाते हैं, तो वह एक जांच शुरू करता है जो उसे एक हैकर (Dark Angel) के पास ले जाता है।

The Return Of Abhimanyu (Irumbu Thirai) Hindi Download & Watch Here

Saturday, January 19, 2019

पद्मावत के बाद अब कंगना रनौत की मणिकर्णिका विवादों में

राजस्थान: दीपिका पादुकोण की पद्मावत के बाद, कंगना रनौत की मणिकर्णिका मूवी रिलीज़ होने से पहले विवादों में आ गयी है और मूवी को लेकर करणी सेना एक बार फिर जाग गयी है।

जानकारी के अनुसार, कंगना रनौत की रानी लक्ष्मीबाई पर आधारित फिल्म मणिकर्णिका द क्वीन ऑफ झांसी है, करणी सेना ने फिल्म की रिलीज का विरोध किया। करणी सेना का आरोप है कि रानी लक्ष्मीबाई के ब्रिटिश अफसर संग रिलेशन पर आपत्ति है। उनका दावा है कि मूवी में रानी लक्ष्मीबाई को एक गाने पर डांस करते दिखाया गया है, जो सभ्यता के खिलाफ है।

करणी सेना के राष्ट्रीय अध्यक्ष सुखदेव सिंह गोगामेड़ी ने कहा, बार-बार हमने देखा है कि फिल्ममेकर्स किसी उद्देश्य के साथ खास सीन्स को दिखाने की स्वतंत्रता लेते हैं। ये सब बर्दाश्त नहीं किया जाएगा।

सुखदेव सिंह ने कहा, कंगना रनौत की मणिकर्णिका भी ऐसे ही अंजाम भुगतेगी। हमने निर्माताओं से बात कर कहा कि वे हमें रिलीज से पहले फिल्म दिखाए। अगर वे हमें दिखाए बिना मूवी रिलीज कर देते हैं तो हम प्रॉपर्टी तोड़ेंगे और इसके उत्तदायी हम नहीं होंगे।

मणिकर्णिका मूवी को लेकर कंगना रनौत ने भी करणी सेना को तीखे तेवर दिखाये हैं उन्होंने कहा, मैं भी राजपूत हूं, बर्बाद कर दूंगी।

Saturday, January 16, 2016

13 Hours Movie Review: The Secret Soldiers of Benghazi

Based on the best-selling account by Mitchell Zuckoff (with the participation of five of the survivors of the attack), the film begins as former Navy SEAL Jack Silva (John Krasinski) arrives in Benghazi to work as a private consultant on the security detail for a CIA outpost alongside old friend Tyrone “Rone” Woods (James Badge Dale). The job isn’t ideal—Benghazi is one of the most dangerous places in the world; he is separated from his wife and young daughters; and all the official CIA people that he is working under, especially outpost chief Bob (David Costabile), are constantly reminding all the security guys that they are the ones doing the important work. It brings in more money than staying at home and working as a real estate agent.

13 Hours Movie Review: The Secret Soldiers of Benghazi

In early September 2012, U.S. Ambassador Chris Stevens (Matt Letscher) arrives and insists on staying at the diplomatic compound during his visit. While inspecting the premises before the arrival of Ambassador Stevens, Silva, Rone and their fellow security consultants realize instantly that the protection it offers is completely inadequate. They're further appalled when they see that a once-secret meeting has been made into a public affair, alerting everyone in the dangerously unstable region to the presence of Stevens. Nevertheless, the CIA guys and the security patrol at the diplomatic compound poo-poo their warnings and insist that they have everything under control.

On September 11, the compound, with Stevens inside, is attacked by a heavily-armed mob that quickly storms the building and even sets it on fire in an attempt to smoke the ambassador out. From their vantage point at the CIA outpost a mile or so away, Silva, Rone and four other security men on hand—Kris “Tanto” Paronto (Pablo Schreiber), Dave “Boon” Benton (David Denman), John “Tig” Tiegan (Dominic Fumusa) and Mark “Oz” Geist (Max Martini)—can see what is going down and are prepared to rush over and assist, but the main CIA guy gives them a direct order to stand down. He continues to repeat that order until the six of them decide to defy it and head out to the compound without authorization. Although they fend off waves of attackers and manage to pull a couple of people out, they are unable to find Stevens in the burning building before returning to their base. It is then that the CIA base becomes the new focus of attack and the guys, along with a handful of others, are forced to single-handedly defend the compound and those inside while calls for air support are ignored and a potential rescue force is stuck on the tarmac in Tripoli mired in red tape.

In the hands of the right filmmaker, a film about Benghazi might have yielded something like Ridley Scott's “Black Hawk Down,” another chronicle of a mission in an unstable land that went horribly wrong. Scott’s film chronicled the horrors of what happened, the heroism of those that fought and the combination of mistakes, misjudgments and plain bad luck that occurred along the way. Alas, Michael Bay has never been known as a director with any sense of nuance, and instead recounts the story in the broadest manner imaginable. The screenplay by Chuck Hogan is about as simplistic and simple-minded as can be—our six heroes are near-gods who can do no wrong while the government operatives on display are cartoonishly dumb, obnoxious and blinkered in their thinking. When he wants viewers to recognize what drives our heroes to put themselves in harm’s way, he not only has one of them read aloud from Joseph Campbell’s “The Power of Myth” but repeats that moment as a flashback towards the end—which is also pretty much the extent of the character development as well. Frankly, the best writing in the film is featured in a clip from “Tropic Thunder” that is shown and considering what that movie is about—a group of actors going off to film a war story that proves to be not quite as accurate as advertised—its inclusion comes across as either the sickest joke imaginable or a weird bit of meta-commentary that somehow got slipped into the mix.

As for Bay, he treats the material in much the same manner for everything else—like a hyper-violent video game featuring lots of dazzle and precious little else. Thinking back to “Black Hawk Down,” you will recall how brilliantly Scott evoked the confusion of what happened while still laying everything out in a manner and allowing viewers to follow along and find order in the chaos. “13 Hours” evokes plenty of confusion, but it is less the fog of war and more the fog of a filmmaker who seems incapable of following the basic rules of film grammar when needed. One could argue that Bay is trying for a “you are there” approach that plunges viewers into the mayhem and keeps them as much in the dark as the character were but he just doesn’t have the skills to pull it off. Utilizing his familiar arsenal of rapid edits, slow-motion and showy special effects (including a bit following a mortar as it descends from the skies to hit its target that appears to be Bay’s homage to a similar shot in his own “Pearl Harbor”), he does everything he can to get an immediate reaction (including a bit in which the American flag is machine-gunned in slow-motion that feels like the longest sustained shot in the film) but neglects to give viewers anything else to grasp onto that could give them any understanding of what happened. As bad as the action is, the allegedly character-driven bits are even worse—a scene in which Silva gets some news from his wife and kids over a video chat while the family is at a McDonald’s drive-thru is so badly handled in every possible way that it makes the scene in Bay’s “Armageddon” with Ben Affleck, Liv Tyler and some animal crackers seem positively subtle by comparison.

Simply put, “13 Hours” is a pretty dreadful movie and while watching it, I sat there trying to figure out what kind of audience might actually go for it. Those of the liberal persuasion will write it off because it presents elements that have been highly disputed or flat-out denied (such as the stand-down orders) as unquestioned fact. Conservatives may be upset that it doesn’t go far enough in tying Hillary Clinton to the events depicted—unless I missed it, she is never once mentioned specifically. As an action movie and as a historical document, it is a bombastic and wholly inauthentic mess that displays precious little interest in the men whose actions and sacrifices it purports to honor. There is a good and interesting movie out there to be made about the tragic events at Benghazi and the political aftermath but “13 Hours” is definitely not it.

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Thursday, December 31, 2015

Airlift Trailer Review: No One Does Play This Role Better Than Akshay!

There is a virile vividness about the trailer underscored by the presence of a hero who is at once strong and vulnerable. Akshay Kumar’s incredible and growing-with-every-film screen presence is increasingly being used by filmmakers to create a historical perspective in our cinema. We saw him tackle global terrorism with unostentatious panache in Baby.

In Airlift it’s a more intimate chunk of thrilling history chosen to spotlight the actor’s ability to be so convincingly and unconditionally heroic during times of unmitigated stress. As Akshay tells us , this is Kuwait in August 1990 when a trigger-happy lunatic decided to take over leaving 1 lakh 70,000 Indians stranded in  the grip of a stunning siege.

Airlift Trailer Review: No One Does Play This Role Better Than Akshay!
This is the story of an Indian businessman Rajat Katiyal  who takes it on himself to carry the Indians stranded in Kuwait to safety .What impels men like Katiyal to assume a heroic role under duress?

The trailer of Arlift answers this question in a very direct way: when calamity strikes, heroes come up on their own volition.

The smartly executed action sequences and Akshay Kumar’s towering presence indicate the arrival of an important new director Raja Krishna Menon . The packaging of the material is so precise and unapologetic we get the feeling of being there during the time of the action. The trailer is shot with tremendous savoir-faire, going neither overboard with the thrillers, nor downplaying it just to seem cooler than Argo.Or Baby.

One hopes the other characters are fleshed out with as much care as Akshay’s. In the trailer it’s Akshay’s heroism-under-pressure all the way.

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Monday, December 28, 2015

Star Wars: The Force Awakens Becomes Fastest Ever Film To Hit $1 Billion

It was as inevitable as eating too much turkey on Christmas Day, and now ‘Star Wars: The Force Awakens’ has passed the $1 billion mark.

It took the J.J. Abrams film just 12 days to do so, beating the previous record - set by this year’s ‘Jurassic World’ - to become the fastest ever film to take a billion at the box office. It only beat the dino adventure by one day, mind.

Star Wars

While it’s hard to compare the popularity of the ‘Star Wars’ franchise to that of ‘Jurassic Park’s’ it’s perhaps more impressive that the space adventure has done it without having been released in China - a boost that aided ‘Jurassic World’s’ huge, quick success.

Along the way, ‘The Force Awakens’ is smashing records left, right and centre, setting new UK opening weekend totals, and can now boast to be the biggest US Christmas Day box office earner in history with $49.3 million.

The current worldwide total, as it stands, is at $1,090,573,329, with that number rising by the day.
It wouldn’t surprise anyone if the film goes on to challenge James Cameron’s ‘Avatar’ as the highest-grossing movie of all time, but it’s still got some way to go to match it.

‘Avatar’s’ incredible $2.8 billion haul was due to the longevity of its cinema run as well as a re-release, which ‘The Force Awakens’ could conceivably do. Some are suggesting a Director’s Cut could emerge next year, with around 20 minutes believed to have been cut from what we’ve seen at the cinema available.

Can J.J. Abrams and co. actually do the impossible and topple James Cameron’s ‘Avatar’? Only time will tell.

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Friday, December 25, 2015

A Walk in the Woods Movie Review

Parents need to know that A Walk in the Woods is a dramedy -- based on Bill Bryson's nonfiction book -- about two older men (played by Robert Redford and Nick Nolte) who decide to hike the Appalachian Trail. Language is the biggest issue, with frequent uses of "f--k" and "s--t," as well as strong sexual references/innuendo and stories of sexual exploits. An amorous couple kisses while driving a car, and she disappears below the seat to (it's implied) perform oral sex. There's some flirting, and a man gets in trouble with a married woman's husband, who wields a baseball bat. Characters fall off ledges, there's some arguing, and bears wander into a campsite. One character is a recovering alcoholic and tells stories of being drunk; he carries a bottle of whisky, but doesn't drink it. Minor characters are shown drinking and driving.

After living all over the world, travel writer Bill Bryson (Robert Redford) finds himself back in the United States, semi-retired, giving inane TV interviews and attending one funeral too many. He decides to hike the 2000+ mile Appalachian Trail, despite warnings that he's too old and could die. His wife (Emma Thompson) agrees, on the condition that he not go alone; the only friend crazy enough to volunteer for the adventure is grizzled ex-alcoholic Stephen Katz (Nick Nolte). On their journey, the two hikers encounter everything from rain, snow, and mud to annoying fellow hikers, angry husbands, hungry bears, and tricky ledges. But they also find a few majestic places and quiet moments that remind them of what it means to be alive.

While this movie could have been an overly earnest drama or an embarrassing slapstick farce, it settles somewhere comfortably in between. It's inconsequential, but it should please fans of codger comedies. Director Ken Kwapis, a veteran of TV series and lightweight comedies, mainly keeps things on an even keel. Even if Kristen Schaal (as an annoying hiker) and Susan McPhail (as a cheating wife) are witless diversions, the movie usually veers back on the trail quickly enough.

Potential dramatic pitfalls are handled lightly or simply left behind. The wonderful Mary Steenburgen plays a hotel proprietress who makes eyes at Bryson, and Katz has a close call with an alcoholic episode. The movie's strength is in the relationship between the two men, with Nolte's comically gruff performance providing the anchor. They sometimes argue and other times share memories, but their bond is largely unexplained and unspoken.

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