Um, you can put down that camera,but i should warn you...i do bite!
Monday, 28 February 2011
You might wanna take a picture... it will last longer!
Um, you can put down that camera,but i should warn you...i do bite!
Sunday, 27 February 2011
Sharukh khan ‘D’ tattoo for Deepika Padukone
Months before there started some questions and rumors about a tattoo “D” on Shah Rukh Khan’s arm. Now the mystery has been solved about that ‘D’ tattoo on Shah Rukh Khan’s arm. The Khan who is not fond of tattoos is more than happy to flaunt it, but what does ‘D’ stands for? Ask SRK, and he will show his wit. Known for his sense of humour, Khan loves to give witty replies to the questioned tossed at him. The star is constantly being asked what the tattoo ‘D’ stands for, and he replies, “It’s for Deepika Padukone!” His wonderful Om Shanti Om co-star.
However, this ‘D’ is a mehendi tattoo which looks like a permanent one and it is for his upcoming action thriller Don 2. So ‘D’ stands for Don, once the star is done with the film, the tattoo will be gone. Till that time Deepika can enjoy all the attention.
deepika padukone backless
However, this ‘D’ is a mehendi tattoo which looks like a permanent one and it is for his upcoming action thriller Don 2. So ‘D’ stands for Don, once the star is done with the film, the tattoo will be gone. Till that time Deepika can enjoy all the attention.
deepika padukone backless
Bipasha new picture controversy
Bipasha Basu Features On The Cover Of Maxim Magazine Indian Edition For The Month Of January 2011. Bengali Beauty bars it all for the Cover, this is her second cover for maxim magazine, she was on it last time in September 2009. Bipasha Basu’s bar back act surly help to fight very cold winter season. Stay tuned for Bipasha Maxim Photoshoot, till then enjoy Bipasha Basu.
source: bollyupdates
bipasha basu maxims
source: bollyupdates
bipasha basu maxims
Gnomeo and Juliet - Movie Review
This contemporary re-imagining of the Shakespearean tragedy ranks high on the adorability scale and sky high in the celebrity voiceover appearance scale – Patrick Stewart, Emily Blunt, Jason Statham, Dolly Parton, Hulk Hogan, James McEvoy, Michael Caine, Maggie Smith, Julie Walters, Matt Lucas, Ozzy Osbourne for heaven’s sake… that’s some Shakespeare. One of the most performed plays in literary history is noisily refreshed in a new milieu – a suburban English garden.
The vividly hued world of the gnomes is important symbolically as well as artistically. The primary colors of the gnomes’ loyalties, red and blue, the Bloods and Crips, the Capulets and Montagues, of the back yard set, and the million shades of green and blossoms colours in the lush vegetation of the garden, against the blue sky make this an eye pleasing delight.
The candy colored inhabitants of adjoining backyards have been embroiled in an ages old feud, in the traditional, social, political feud straight out of The Bard’s original tale. Sweetly naïve Gnomeo and Juliet however, learn this time around.
Young Turk Tybalt (Statham) is just as uncontrollably violent as he was 400 years ago, except now he gets to use really loud machines. It was genius casting Statham who recreates his signature action hero scowl and bite as he revs up another manly machine.
Gnomeo and Juliet, the plaster star crossed lovers are in the traditional secret passion pickle.
They’ve fallen in love despite the war between their families, their gnome gnations, and their efforts to bring this love to flower without being discovered are futile. And yet they carry on, driven by youthful passion and recklessness. But once they are discovered, all kinds of gnome-y hell break loose.
The war spills outside the walls of the gardens and into the mean streets of suburbia where Gnomeo and a truck meet by accident. He is presumed dead as shards of pottery strew the road and Juliet and his mother are beyond comfort.
This is one of several sequences reminding us that the rush to violence and destruction in children’s pop culture is irrevocable. Big noise, big blow up, big boom. A couple of gnomes order a Terrafirminator online (?) to wage war on the enemy next door, but naturally, the machine is too much for a group of garden ornaments to handle and chaos reigns.
Destruction trumps all. The glorious gardens are leveled by the Terrafirminator, for a time, at least. Does no one trust children to enjoy a film that doesn’t self-destruct with eye popping violence? Is this what we’ve come to? It’s hard to reconcile love and war but the gnome world, while it looks pretty harmless, is a hotbed of heightened emotion and action.
The world’s a dangerous place, maybe most especially in the suburbs.
Elton John and partner David Furnish produced the film, and John provides most of the soundtrack with a few references to the Beatles. The tunes are familiar, rousing, sentimental and perfect in this milieu.
Gnomeo and Juliet will entertain kids and their parents and that’s a win-win situation and thankfully no one dies.
35mm 3D animation
Written by Kelly Asbury
Directed by Kelly Asbury, Mark Burton, William Shakespeare, et al
Source: M&C
Gnomeo and Juliet
The vividly hued world of the gnomes is important symbolically as well as artistically. The primary colors of the gnomes’ loyalties, red and blue, the Bloods and Crips, the Capulets and Montagues, of the back yard set, and the million shades of green and blossoms colours in the lush vegetation of the garden, against the blue sky make this an eye pleasing delight.
The candy colored inhabitants of adjoining backyards have been embroiled in an ages old feud, in the traditional, social, political feud straight out of The Bard’s original tale. Sweetly naïve Gnomeo and Juliet however, learn this time around.
Young Turk Tybalt (Statham) is just as uncontrollably violent as he was 400 years ago, except now he gets to use really loud machines. It was genius casting Statham who recreates his signature action hero scowl and bite as he revs up another manly machine.
Gnomeo and Juliet, the plaster star crossed lovers are in the traditional secret passion pickle.
They’ve fallen in love despite the war between their families, their gnome gnations, and their efforts to bring this love to flower without being discovered are futile. And yet they carry on, driven by youthful passion and recklessness. But once they are discovered, all kinds of gnome-y hell break loose.
The war spills outside the walls of the gardens and into the mean streets of suburbia where Gnomeo and a truck meet by accident. He is presumed dead as shards of pottery strew the road and Juliet and his mother are beyond comfort.
This is one of several sequences reminding us that the rush to violence and destruction in children’s pop culture is irrevocable. Big noise, big blow up, big boom. A couple of gnomes order a Terrafirminator online (?) to wage war on the enemy next door, but naturally, the machine is too much for a group of garden ornaments to handle and chaos reigns.
Destruction trumps all. The glorious gardens are leveled by the Terrafirminator, for a time, at least. Does no one trust children to enjoy a film that doesn’t self-destruct with eye popping violence? Is this what we’ve come to? It’s hard to reconcile love and war but the gnome world, while it looks pretty harmless, is a hotbed of heightened emotion and action.
The world’s a dangerous place, maybe most especially in the suburbs.
Elton John and partner David Furnish produced the film, and John provides most of the soundtrack with a few references to the Beatles. The tunes are familiar, rousing, sentimental and perfect in this milieu.
Gnomeo and Juliet will entertain kids and their parents and that’s a win-win situation and thankfully no one dies.
35mm 3D animation
Written by Kelly Asbury
Directed by Kelly Asbury, Mark Burton, William Shakespeare, et al
Source: M&C
Gnomeo and Juliet
Salman jumps from 10, 000 feet
Bollywood's "Dabangg" actor Salman Khan will be seen doing a daredevil stunt in PepsiCo's new Mountain Dew ad - he jumps from 10, 000 feet in a "wingsuit" from which a parachute springs open. "Everyone is afraid of something or the other at some point of his or her life. But if you try to run away from fear, you'd be tired and eventually fear will win. So the best way to overcome fear is to face it, run through it because 'Darr Ke Aage Jeet Hai'," Salman said in a statement.
Salman was initially not so sure about the stunt but he eventually did it. Wingsuit flying is a new sport of flying through the air in a special jumpsuit and pulling the parachute's ripcord as one apporaches the ground.
He is said to be the first celebrity brand ambassador roped in by Mountain Dew. Alpana Titus, category marketing director (flavoured carbonated drinks), PepsiCo India Beverages, says the new campaign is quite big in terms of quality and budget.
Salman has jumped from a mountain which was 10, 000 feet high. He did have jitters initially but was confident it would work out well and he would be able to overcome his fears in turn," she said.
When asked why Salman was chosen out of all the known faces, Titus said: "Salman was our first choice because he embodies our (Mountain Dew's) tagline 'Darr Ke Aage Jeet Hai' accurately and he also has a nationwide fan following. People in not only the metros but also the remote areas follow him.
Source: santabanta
salman khan
Salman was initially not so sure about the stunt but he eventually did it. Wingsuit flying is a new sport of flying through the air in a special jumpsuit and pulling the parachute's ripcord as one apporaches the ground.
He is said to be the first celebrity brand ambassador roped in by Mountain Dew. Alpana Titus, category marketing director (flavoured carbonated drinks), PepsiCo India Beverages, says the new campaign is quite big in terms of quality and budget.
Salman has jumped from a mountain which was 10, 000 feet high. He did have jitters initially but was confident it would work out well and he would be able to overcome his fears in turn," she said.
When asked why Salman was chosen out of all the known faces, Titus said: "Salman was our first choice because he embodies our (Mountain Dew's) tagline 'Darr Ke Aage Jeet Hai' accurately and he also has a nationwide fan following. People in not only the metros but also the remote areas follow him.
Source: santabanta
salman khan
Carancho - Movie Review
Pablo Trapero teams up with “Lion’s Den” team screenwriters Alejandro Fadel, Martín Mauregui and Santiago Mitre in producing the action thriller “Carancho.” The film is an enthralling inside look at urban Argentina with an unbridled sense of indie artisanship. The cast and crew are young award winners and the film is nervous--filled with constantly moving shaky-cam shots that take the viewer directly to the center of the action.
When that action is in the back of an ambulance or the front seat of a car the viewer in right on top of the blood soaked victim, crashing in the nether land of a rolling, bouncing closet. The brutal potholes in the road smash the audience as they open the wounds of the lacerated victim reeling from his unjust, random plight.
Take notice, this film is not for the faint of heart. The central theme is automobile death in modern day Argentina. The country claims the world’s highest road death rate. Relative to cars owned this is five times as high as the USA.
Traffic fatalities are the leading cause of death for Argentineans under the age of 35, with many of the deaths claiming pedestrians crossing the street or walking on the side of the road. Estimates indicate about half of the country’s drivers run one red light a day, including drivers of buses full of passengers.
Trapero’s fast-moving film takes these statistics directly to the audience. Sosa (a riveting performance by “The Secret in Their Eyes” Ricardo Darin) makes his living as an ambulance-chasing lawyer.
His dishonesty moves the film into the self-inflicted plight of many Argentineans, a country with four decades of political unrest, corruption and financial crisis. Sosa has been disbarred but still must make a living in a country that, during his lifetime, has displayed world-class political-brutality and economic breakdown.
Reflecting the hard-hitting nature of the story, the screenplay contains elements of explicit injected drug use and the slow walking death that results. A few scenes from “Requiem for a Dream” come to mind--this film is almost as brutal and hard hitting as Arronofsky’s early masterpiece.
In executing the difficult vehicle interior shots and the chaos and impersonality of urban emergency medical care, the director and screenwriters seemed to be reliving the nightmare of “The Death of Mr. Lazarescu.”
The scene is one hundred percent set in the streets and the queasy-cam gets a lot queasier with the bodies bouncing off the windshields, through the windshields and out of the smashed open doors of over-turning vehicles. Sosa is tortured with solid body blows dealt out repeatedly in the wet, dark gutters and in the front seats of his cheap, faded, broken down automobiles that surely have been resurrected from Mexican junkyards.
Sosa meets emergency medical doctor Luján (Martina Guzman—“Lions’ Den”) early in the film. Their attraction is as immediate as it is unbelievable. This attraction is dangled in front of the audience in a well-paced and effective manner, giving rise to the noir-ish voyeuristic love scenes seen through eyes of that shaky-cam.
Although the two appear to be exact opposites in the beginning, as the story unfolds their paths steer together onto parallel roads to destruction.
Darín appears to have been coached with Paul Newman’s performance as the down on his luck lawyer in “The Verdict” and he is almost as good. The ambulance scenes move the abstract, sci-fi images of “Lazarescu” into real life without losing a bit of the pure, dark threat of death. Darin is the key to this transition.
He combines the shifty-eyed toughness of the man on the skids looking for the right angle with the barely visible foreboding of the condemned.
As in many indie films, the use of the hand-held camera gets a bit tedious and there was not quite enough story to sustain the entire running time of the movie, as a result it flagged a bit in the last 20 minutes.
Perhaps this was accented by the certainty of the outcome. In spite of these small detractions, the film still represents a substantial success for the filmmakers. Both of the leads performed with strength and commitment.
Directed by: Pablo Trapero
Written by: Alejandro Fadel, Martín Mauregui, Santiago Mitre and Pablo Trapero
Starring: Ricardo Darín and Martina Gusman
Runtime: 107 minutes
Source: M&C
Carancho
When that action is in the back of an ambulance or the front seat of a car the viewer in right on top of the blood soaked victim, crashing in the nether land of a rolling, bouncing closet. The brutal potholes in the road smash the audience as they open the wounds of the lacerated victim reeling from his unjust, random plight.
Take notice, this film is not for the faint of heart. The central theme is automobile death in modern day Argentina. The country claims the world’s highest road death rate. Relative to cars owned this is five times as high as the USA.
Traffic fatalities are the leading cause of death for Argentineans under the age of 35, with many of the deaths claiming pedestrians crossing the street or walking on the side of the road. Estimates indicate about half of the country’s drivers run one red light a day, including drivers of buses full of passengers.
Trapero’s fast-moving film takes these statistics directly to the audience. Sosa (a riveting performance by “The Secret in Their Eyes” Ricardo Darin) makes his living as an ambulance-chasing lawyer.
His dishonesty moves the film into the self-inflicted plight of many Argentineans, a country with four decades of political unrest, corruption and financial crisis. Sosa has been disbarred but still must make a living in a country that, during his lifetime, has displayed world-class political-brutality and economic breakdown.
Reflecting the hard-hitting nature of the story, the screenplay contains elements of explicit injected drug use and the slow walking death that results. A few scenes from “Requiem for a Dream” come to mind--this film is almost as brutal and hard hitting as Arronofsky’s early masterpiece.
In executing the difficult vehicle interior shots and the chaos and impersonality of urban emergency medical care, the director and screenwriters seemed to be reliving the nightmare of “The Death of Mr. Lazarescu.”
The scene is one hundred percent set in the streets and the queasy-cam gets a lot queasier with the bodies bouncing off the windshields, through the windshields and out of the smashed open doors of over-turning vehicles. Sosa is tortured with solid body blows dealt out repeatedly in the wet, dark gutters and in the front seats of his cheap, faded, broken down automobiles that surely have been resurrected from Mexican junkyards.
Sosa meets emergency medical doctor Luján (Martina Guzman—“Lions’ Den”) early in the film. Their attraction is as immediate as it is unbelievable. This attraction is dangled in front of the audience in a well-paced and effective manner, giving rise to the noir-ish voyeuristic love scenes seen through eyes of that shaky-cam.
Although the two appear to be exact opposites in the beginning, as the story unfolds their paths steer together onto parallel roads to destruction.
Darín appears to have been coached with Paul Newman’s performance as the down on his luck lawyer in “The Verdict” and he is almost as good. The ambulance scenes move the abstract, sci-fi images of “Lazarescu” into real life without losing a bit of the pure, dark threat of death. Darin is the key to this transition.
He combines the shifty-eyed toughness of the man on the skids looking for the right angle with the barely visible foreboding of the condemned.
As in many indie films, the use of the hand-held camera gets a bit tedious and there was not quite enough story to sustain the entire running time of the movie, as a result it flagged a bit in the last 20 minutes.
Perhaps this was accented by the certainty of the outcome. In spite of these small detractions, the film still represents a substantial success for the filmmakers. Both of the leads performed with strength and commitment.
Directed by: Pablo Trapero
Written by: Alejandro Fadel, Martín Mauregui, Santiago Mitre and Pablo Trapero
Starring: Ricardo Darín and Martina Gusman
Runtime: 107 minutes
Source: M&C
Carancho
Priyanka to play Ranbir Kapoor’s gal
People heaped praise on Priyanka Chopra for her sterling performance in 7 Khoon Maaf as a victimized woman who kills her husbands. Now, the talented actress will prepare for a very challenging role of a mentally-challenged heroine to the deaf-and-dumb Ranbir Kapoor. And see who’s helping her out in preparing for the role? It’s Shah Rukh Khan, her favourite co-star of Don and Don 2. Priyanka plays a mentally challenged girl in Anurag Basu's thriller Barfee and she has to undergo training to prepare for the role. As Shahrukh effortlessly played a man with Asperger's Syndrome in My Name Is Khan, who else better than him to help her out!
Naturally, Priyanka is excited and tells a tabloid, “If the character comes out right I'll have a lot to thank him for. I consider SRK one of the finest actors in world. To be able to spend so much time with him both on and off camera is a blessing.”
Priyanka will train for almost a month for the role and has already begun visiting schools and institutions for the mentally challenged.
Source: apunkachoice
priyanka don2
Naturally, Priyanka is excited and tells a tabloid, “If the character comes out right I'll have a lot to thank him for. I consider SRK one of the finest actors in world. To be able to spend so much time with him both on and off camera is a blessing.”
Priyanka will train for almost a month for the role and has already begun visiting schools and institutions for the mentally challenged.
Source: apunkachoice
priyanka don2
Music Review - Game
The music of ad-filmmaker-turned-director Abhinay Deo sticks to the theme of the movie and has all the elements of being a perfect soundtrack for a thriller. That does make the music a little more situational than individualistic, but nevertheless, an interesting effort. The album offers seven tracks. It opens with the title track "It's a game" aptly crooned by Vishal Dadlani. The edgy number has the feel of a thriller and is quite western in its approach, thanks to the style in which it is sung and the music is composed. The track also brings forth strong orchestration.
It also boasts of a reprise version, which is slower in pace and is sung by Sunitha Sarath.
Then comes love ballad "Maine yeh kab socha tha" that has Shaan, Anusha Mani and Loy Mendonsa behind the mike. The soft, pleasing number has light music and slowly grows on you. A good hear.
Next is a cabaret "Mehki mehki", which is well-composed by the trio. Sung by Shreya Ghoshal with ample support by Kshitij Wagh, the moderately-paced song stands out in the album owing to its distinctness.
It also has a remix version and the highlight is its faster pace.
The thrill returns with the song "Kaun hai ajnabi", a track that starts with a bang and is likeable throughout because of its energy, zing and pace. With vocals by KK and Aditi Singh Sharma, it keeps you hooked till end. The sounds and musical arrangements do justice to the theme.
This one too has a remixed version.
On the whole, the album focuses on the soul of the film and never loses track. Shankar-Ehsaan-Loy have tried to move away from their signature style by trying something different, which is worth appreciating.
Music Directors: Shankar-Ehsaan-Loy
Lyricist: Javed Akhtar
Singers: Vishal Dadlani, Shaan, Anusha Mani, Loy Mendonca, Shreya Ghoshal, Kshitij, Aditi Singh Sharma, KK and Sunitha Sarathy
Source: santabanta
Game Movie
It also boasts of a reprise version, which is slower in pace and is sung by Sunitha Sarath.
Then comes love ballad "Maine yeh kab socha tha" that has Shaan, Anusha Mani and Loy Mendonsa behind the mike. The soft, pleasing number has light music and slowly grows on you. A good hear.
Next is a cabaret "Mehki mehki", which is well-composed by the trio. Sung by Shreya Ghoshal with ample support by Kshitij Wagh, the moderately-paced song stands out in the album owing to its distinctness.
It also has a remix version and the highlight is its faster pace.
The thrill returns with the song "Kaun hai ajnabi", a track that starts with a bang and is likeable throughout because of its energy, zing and pace. With vocals by KK and Aditi Singh Sharma, it keeps you hooked till end. The sounds and musical arrangements do justice to the theme.
This one too has a remixed version.
On the whole, the album focuses on the soul of the film and never loses track. Shankar-Ehsaan-Loy have tried to move away from their signature style by trying something different, which is worth appreciating.
Music Directors: Shankar-Ehsaan-Loy
Lyricist: Javed Akhtar
Singers: Vishal Dadlani, Shaan, Anusha Mani, Loy Mendonca, Shreya Ghoshal, Kshitij, Aditi Singh Sharma, KK and Sunitha Sarathy
Source: santabanta
Game Movie
The Eagle – Movie Review
Director Kevin MacDonald is best known for his scintillating “Last King of Scotland” and his Best Documentary Oscar winner “One Day in September.” He puts on a completely different hat in this near sequel to Neil Marshall’s previously released “Centurion.” Both films are set in the second century AD and revolve around Rome’s attempted domination of what is now Scotland. In case you haven’t heard, Rome was less than completely successful. In fact, England a thousand years later was also unsuccessful (see “Braveheart’).
In “The Eagle,” the action takes place in 140 AD Britain. The south (England, more or less) is controlled by Rome and the North is controlled by those nasty Caledonians, made up in part of the tribes of the Picts.
They were solidly entrenched in their homeland and supremely well adapted to the extreme cold, wet and wind of the northlands. The Romans, on the other hand, have superior armaments and more sophisticated fighting tactics. The stage is set for some good old fashioned, head lopping, skull bashing tribal warfare, and the viewer is not disappointed.
The two lead characters are Marcus and Esca, played by Channing Tatum and Jamie Bell. Jeremy Brock’s screenplay places Marcus as the son of the dishonored Roman general who led the Ninth Legion into the Caledonian wilderness 20 years earlier.
The Ninth never returned. With them, they took the cast bronze Eagle, the symbol of the pride of all Rome, which disappeared with the Ninth. Marcus is dedicated to restoring the honor of the Ninth Legion and his father and he is determined to find the Eagle and restore it to its rightful place in Rome.
Early in the film, the slave Esca is thrown into a pit for a fight to the death with a trained gladiator. He shows defiance in the face of certain death, although Marcus, driven by some inexplicable connection, saves the slave’s life at the last minute. A bond is created between the two and they sally forth into the savage north to confront the ferocious Seal tribe.
From there, the film follows an arc similar to “Centurion.” The two soldier/pilgrims are hopelessly outnumbered and have to use their wits as well as their swords to carve out a trail to the lost Eagle.
The film maintains a spectacular drop of beautiful Scottish scenery as the two men wander across the rugged hills and mountains of the Highlands. In fact, they cover a lot of land in the kind of clothing that would lead to the immediate death by hypothermia of real people. But, what the heck, this is Hollywood.
Also, as in Hollywood, they are able to beat off several dozen stronger fighters because, well, they are the heroes. The result is one walloping good time without too much energy wasted on the whys or wherefores.
The soundtrack, costumes and sets are fantastic. The filmmakers for this flick pulled out all the stops. The plot is almost completely predictable from start to finish. The accents of the actors are non-existent. That is, they didn’t attempt to mimic the accent that might have existed in 2nd century Britain.
While this might be just plain laziness, or lack of funding, it provides an interesting otherworldly sense to the whole affair. Marcus and Esca converse like the well educated American and Britain they are and the story goes on.
As long as the film focuses on the sword fights and great tactical duels everything is fine. It is when the two characters have to exchange some meaningful lines that things get ugly. As the action winds down and the heroes are able to make their peace with one another the screenplay dissolves into pure sappiness.
Tatum might as well have asked Bell to join his fraternity or come to the Gator Bowl with him, for all the clout the final words have.
Donald Southerland shows up as a grizzled old man who imparts words of wisdom. More importantly, he imparts his name to the credits of this flick and constitutes the main reason many will pay the price of admission.
The violence is fairly realistic but there is no blood spurting or actual heads flying around. So it’s OK to bring the kids. Good fun for all and no more violent than the average video game.
Directed by: Kevin Macdonald
Written by: Jeremy Brock (screenplay) and Rosemary Sutcliff (novel)
Starring: Channing Tatum, Jamie Bell and Donald Sutherland
Runtime: 114 minutes
Source: M&C
The eagle movie
In “The Eagle,” the action takes place in 140 AD Britain. The south (England, more or less) is controlled by Rome and the North is controlled by those nasty Caledonians, made up in part of the tribes of the Picts.
They were solidly entrenched in their homeland and supremely well adapted to the extreme cold, wet and wind of the northlands. The Romans, on the other hand, have superior armaments and more sophisticated fighting tactics. The stage is set for some good old fashioned, head lopping, skull bashing tribal warfare, and the viewer is not disappointed.
The two lead characters are Marcus and Esca, played by Channing Tatum and Jamie Bell. Jeremy Brock’s screenplay places Marcus as the son of the dishonored Roman general who led the Ninth Legion into the Caledonian wilderness 20 years earlier.
The Ninth never returned. With them, they took the cast bronze Eagle, the symbol of the pride of all Rome, which disappeared with the Ninth. Marcus is dedicated to restoring the honor of the Ninth Legion and his father and he is determined to find the Eagle and restore it to its rightful place in Rome.
Early in the film, the slave Esca is thrown into a pit for a fight to the death with a trained gladiator. He shows defiance in the face of certain death, although Marcus, driven by some inexplicable connection, saves the slave’s life at the last minute. A bond is created between the two and they sally forth into the savage north to confront the ferocious Seal tribe.
From there, the film follows an arc similar to “Centurion.” The two soldier/pilgrims are hopelessly outnumbered and have to use their wits as well as their swords to carve out a trail to the lost Eagle.
The film maintains a spectacular drop of beautiful Scottish scenery as the two men wander across the rugged hills and mountains of the Highlands. In fact, they cover a lot of land in the kind of clothing that would lead to the immediate death by hypothermia of real people. But, what the heck, this is Hollywood.
Also, as in Hollywood, they are able to beat off several dozen stronger fighters because, well, they are the heroes. The result is one walloping good time without too much energy wasted on the whys or wherefores.
The soundtrack, costumes and sets are fantastic. The filmmakers for this flick pulled out all the stops. The plot is almost completely predictable from start to finish. The accents of the actors are non-existent. That is, they didn’t attempt to mimic the accent that might have existed in 2nd century Britain.
While this might be just plain laziness, or lack of funding, it provides an interesting otherworldly sense to the whole affair. Marcus and Esca converse like the well educated American and Britain they are and the story goes on.
As long as the film focuses on the sword fights and great tactical duels everything is fine. It is when the two characters have to exchange some meaningful lines that things get ugly. As the action winds down and the heroes are able to make their peace with one another the screenplay dissolves into pure sappiness.
Tatum might as well have asked Bell to join his fraternity or come to the Gator Bowl with him, for all the clout the final words have.
Donald Southerland shows up as a grizzled old man who imparts words of wisdom. More importantly, he imparts his name to the credits of this flick and constitutes the main reason many will pay the price of admission.
The violence is fairly realistic but there is no blood spurting or actual heads flying around. So it’s OK to bring the kids. Good fun for all and no more violent than the average video game.
Directed by: Kevin Macdonald
Written by: Jeremy Brock (screenplay) and Rosemary Sutcliff (novel)
Starring: Channing Tatum, Jamie Bell and Donald Sutherland
Runtime: 114 minutes
Source: M&C
The eagle movie
salman feels responsible for Zarine's career
Salman Khan has still not given up on his protégée Zarine Khan. After her far-from-satisfying debut in Veer the superstar has been recommending her to his favourite directors. Last week he convinced Anees Bazmi to let Zarine make a cameo appearance in Ready.Zarine flew down to Bangkok for the same. Salman's favourite are so apparent, you just have to look at his films to know who they are. After he had been incarcerated Mahima Chowdhary who visited him in jail in Jodhpur showed up as his co-star in Baghban and also in song for Tere Naam.
Of late after Dabangg Salman has grown really close to his brother Arbaaz. Not surprisingly Arbaaz flew to Bangkok on Friday on his Bade Bhai's insistence to shoot a cameo in Anees Bazmi's Ready. Accompanying Arbaaz was Salman's Veer co-star Zarine Khan struggling to find a foothold in filmdom after her maiden fiasco.
Arbaaz and Zarine shot with Salman in Pattaya on Friday evening. Director Anees Bazmi confirms, “It's a small scene. We needed Arbaaz and Zarine. Salman's equation with them made it easy for us to get them to agree to do the scene.”
Salman loves promoting new talent and aggressively pushes them until they find their level. Apparently Anees had another actress in mind for the cameo. It was on Salman's insistence that Zarine got the part. Apparently Anees initially begged off arguing the role was too brief to do justice to the heroine of Veer.
“But Salman felt Zarine is being left behind for no fault of hers. Last year he had equal faith in both his protegees Sonakshi Sinha and Zarine Khan. Salman somehow feels responsible for Zarine's career not taking off. He is trying to get her into his new projects, ” says a source.
Apparently Salman has also spoken to his buddy Sajid Nadiadwala about a role for Zarine in Kick which starts in the middle of the year.
Source: santabanta
Zarine khan hot
Of late after Dabangg Salman has grown really close to his brother Arbaaz. Not surprisingly Arbaaz flew to Bangkok on Friday on his Bade Bhai's insistence to shoot a cameo in Anees Bazmi's Ready. Accompanying Arbaaz was Salman's Veer co-star Zarine Khan struggling to find a foothold in filmdom after her maiden fiasco.
Arbaaz and Zarine shot with Salman in Pattaya on Friday evening. Director Anees Bazmi confirms, “It's a small scene. We needed Arbaaz and Zarine. Salman's equation with them made it easy for us to get them to agree to do the scene.”
Salman loves promoting new talent and aggressively pushes them until they find their level. Apparently Anees had another actress in mind for the cameo. It was on Salman's insistence that Zarine got the part. Apparently Anees initially begged off arguing the role was too brief to do justice to the heroine of Veer.
“But Salman felt Zarine is being left behind for no fault of hers. Last year he had equal faith in both his protegees Sonakshi Sinha and Zarine Khan. Salman somehow feels responsible for Zarine's career not taking off. He is trying to get her into his new projects, ” says a source.
Apparently Salman has also spoken to his buddy Sajid Nadiadwala about a role for Zarine in Kick which starts in the middle of the year.
Source: santabanta
Zarine khan hot
Deepika Padukone lands in ‘skirt’ trouble
It’s no walk in the park for our actresses to be ultimate screen scorchers. The lanky, sexy Deepika Padukone is all set to make people forget Sheila and Munni with her hottest avatar in the item song for Dum Maaro Dum. But this PYT (pretty young thing) had trouble dancing in a skirt that was way too short.
Deepika, who is naturally thin and is always in great shape, had also worked on her figure to look fabulous for the song with that sexy, ultra-mini skirt. But reportedly, the skirt turned out to be a nightmare for the actress; it was too small for her.
As per sources, the skirt barely covered her derriere though it looked stunning on her. So, when Deepika started rehearsing for the song she realized how revealing the skirt was. She couldn’t even manage some dance steps because of the length (or lack of it) of the skirt.
The actress later got the skirt changed to shorts. The skirt which Deepika wore with a halter-neck bikini top was designed by Anahita Shroff Adajania. She is the same designer who gave Aishwarya Rai a glamorous makeover in Dhoom 2. The song is yet to go on air, but Deepika’s smouldering look is the talk of the town. Set in Goa, the film is directed by Rohan Sippy and set for release on April 22.
Source: apunkachoice
Deepika hot
Deepika, who is naturally thin and is always in great shape, had also worked on her figure to look fabulous for the song with that sexy, ultra-mini skirt. But reportedly, the skirt turned out to be a nightmare for the actress; it was too small for her.
As per sources, the skirt barely covered her derriere though it looked stunning on her. So, when Deepika started rehearsing for the song she realized how revealing the skirt was. She couldn’t even manage some dance steps because of the length (or lack of it) of the skirt.
The actress later got the skirt changed to shorts. The skirt which Deepika wore with a halter-neck bikini top was designed by Anahita Shroff Adajania. She is the same designer who gave Aishwarya Rai a glamorous makeover in Dhoom 2. The song is yet to go on air, but Deepika’s smouldering look is the talk of the town. Set in Goa, the film is directed by Rohan Sippy and set for release on April 22.
Source: apunkachoice
Deepika hot
Saturday, 26 February 2011
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