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Friday, February 26, 2010
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Filmkraft Productions (I) Pvt Ltd
Filmkraft Productions (I) Pvt Ltd
Release Date
May 21, 2010
May 21, 2010
Language
Hindi / English
Hindi / English
Genre
Thriller / Romance
Thriller / Romance
Shooting Studios
Filmistan
Filmistan
Producer
Rakesh Roshan
Sunaina Roshan
Rakesh Roshan
Sunaina Roshan
Director
Anurag Basu
Anurag Basu
Star Cast
- Hrithik Roshan
- Kangna Ranaut
- Barbara Mori
- Kabir Bedi
- Nick Brown
Cassettes and CD’s on
T-Series
T-Series
Music Director
Rajesh Roshan
Rajesh Roshan
Story / Writer
Akash Khurana
Anurag Basu
Robin Bhatt
Akash Khurana
Anurag Basu
Robin Bhatt
Hrithik Roshan starrer romantic saga ‘Kites’, which also marks the Bollywood debut of Mexican model Barbara Mori, will hit theatres worldwide on May 21.
The Hindi and English versions of ‘Kites’ will release worldwide simultaneously in 60 countries.The first trailer of the movie, which has been produced by Rakesh Roshan, distributed and marketed by Reliance Big Picture, was unveiled in 1700 screens on 12th February.
Wednesday, February 24, 2010
In fact, with the exception of a couple big-ticket losses at the Golden Globes and SAG Awards, Kathryn Bigelow’s film has nearly accomplished the same sweep that “Slumdog Millionaire” pulled off last year. By that yardstick, the film seems like a sure thing to win the Best Picture Oscar on March 7, particularly because those two high-profile losses came at the hands of two different films (“Avatar” at the Globes, “Inglourious Basterds” at SAG) rather than one.
But then I started looking at all ““Brokeback” Mountain’s” pre-Oscar record from four years ago and I found some striking similarities.
“Brokeback” managed the rare feat of winning Best Picture and Best Director at both the New York and Los Angeles film critics awards; so did ““Hurt Locker.” “Brokeback” also picked up those two big prizes at the Broadcast Film Critics Awards; so did “Hurt Locker.” “Brokeback” won the trifecta of PGA, DGA, and WGA trophies; so did “Hurt Locker.” “Brokeback” won 4 BAFTAs, including Best Film, Director, and Screenplay; “Hurt Locker” picked up 6 awards, including Best Film, Director, and Screenplay. And of course, “Brokeback” lost the SAG cast award, and so did “Hurt Locker.” (The main difference between the two films’ tallies is that “Brokeback” did win four Globes, including Best Drama and Best Director, while “Hurt Locker” went 0 for 3.)
All of this is on my mind right now because we’re about to put our Oscar Odds issue to bed (it’ll be on stands this Friday), and it’s really making me think twice about my prediction that The “Hurt Locker” will emerge victorious on March 7.
There’s still a distinct possibility that “Hurt Locker” will mirror “Brokeback” yet again and win three Oscars (let’s say Best Director, Best Original Screenplay, and Best Editing) but lose the big one to a more easily-digestible rival, in this case “Avatar.”
But I’m swayed by the argument (best articulated by Steve Pond over at The Wrap) that even if “Avatar” scores the most No. 1 votes, The “Hurt Locker” is likely to perform better in subsequent rounds of voting, since Bigelow’s film may have more No. 2 and No. 3 rankings than “Avatar” will. So, fully knowing that I may end up being wrong, I’m sticking with The “Hurt Locker”.
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"Avatar" Vs "Heart Locker" hard contest
Nominees for the 82nd academy award
Monday, February 22, 2010
Britain's love of the underdog triumphed Sunday as intimate war drama "The Hurt Locker" beat 3D spectacular "Avatar" to take six prizes, including best picture, at the British Academy Film Awards. Kathryn Bigelow won the best-director battle with "Avatar"'s James Cameron, her ex-husband, for her intense depiction of a bomb-disposal squad in Iraq.
"It means so much that this film seems to be touching people's hearts and minds," Bigelow said.
Both films had eight nominations for the British awards, considered an indicator of possible success at the Academy Awards in Los Angeles next month. "Avatar" and "The Hurt Locker" each has nine Oscar nominations.
"The Hurt Locker" also took British prizes for original screenplay cinematography, editing and sound.
"Avatar" won awards for production design and visual effects for its vivid vision of a distant moon populated by a blue-skinned species called the Na'vi.
"Hurt Locker" screenwriter Mark Boal dedicated the best-film prize to the hope of peace "and bringing the boys and girls back home."
Bigelow also paid tribute to soldiers serving in Iraq, and said the goal of the film was "putting a bit of a spotlight on a very, very difficult situation."
"I hope that in some small way this film can begin a debate ... and bring closure to this conflict," she said.
David vs. Goliath?
The "Avatar"/"Hurt Locker" battle initially seemed like a David-and-Goliath story. Cameron's last feature, "Titanic," won 11 Oscars, including picture and director. "Avatar" is a global phenomenon that has taken more than $2 billion at the box office.
"Hurt Locker" has made about a hundredth that much.
"It did not seem like a slam-dunk commercial proposition," said Boal, who thanked Bigelow and the cast for making "an unpopular story about an unpopular war."
Homegrown British talent did not go home empty-handed. Rising star Carey Mulligan was named best actress for playing a precocious teenager in 1960s London in "An Education."
Colin Firth was named best actor for his performance as a bereaved Englishman in California in Tom Ford's "A Single Man."
Firth said he almost declined the award-winning role, which has also earned him an Oscar nomination. He said he had been about to turn it down by e-mail "when someone came to repair my fridge." He never sent the e-mail.
"I would like to thank the fridge guy," Firth said.
Firth said he had emerged from working with fashion designer-turned-director Ford "better groomed, more fragrant and more nominated than one has ever been before."
Austrian actor Christoph Waltz, already a hot Oscar favorite, won the supporting actor prize for his turn as a chilling, charming Nazi colonel in "Inglourious Basterds." The supporting actress award went to Mo'nique for "Precious: Based on the Novel 'Push' by Sapphire."
Director Duncan Jones took the award for best British debut for his lost-in-space drama "Moon."
A tearful Jones, whose father is musician David Bowie, said it had taken him a long time to figure out what he wanted to do with his life.
"Finally, I think I've found what I love doing," he said.
“Season 1 was the best reality show in history,” he told the Chicago Tribune. “Season 2 may be the best series ever. It’s going to be legendary.”
And The Situation, whose catchphrases helped make the MTV show a household name, said he’s not preparing any material in advance for the upcoming season.
“I don’t save material,” he said. “That’s called being on the spot.”
As for what the future holds for the cast, he wasn’t sure if Ronnie Magro and Sammi “Sweetheart” Giancola were still dating.
“I think they broke up — I have no clue,” he said.
According to a previous report from TMZ, the volatile couple split after the taping of the series’ reunion show on January 21, but just days later, co-star Nicole “Snooki” Polizzi told Us Weekly that the pair had gotten back together.
“You never know with them,” Snooki said at the time.
But The Situation told the Tribune that he would be front and center when the show returned no matter what’s going on with his castmates.
“I run that house,” he said. “[Ronnie and Sammi] are the cartoon section. I’m the front page.”
Ryan Phillippe, Abbie Cornish break up-Actress moves out of shared home; couple met during 2006 film shoot
0 comments Posted by SRAINA at 9:07 PM
It's over between actress Abbie Cornish and boyfriend Ryan Phillippe, her spokesperson confirms to e-celebrity exclusively.
"Abbie ended the relationship with Ryan and she moved out of their home," the rep tells e-celebrity. On Sunday, the actress was spotted removing her belongings from the house she shared with Phillippe while he visited a friend with children Ava and Deacon.
The split follows months of tabloid speculation that Phillippe has been unfaithful to Cornish — regularly hitting the nightclubs and being linked to other women. When asked about the cause of the break-up and whether Phillippe cheated on Cornish, her rep replied, "No comment."
ornish, 27, and Phillippe, 35, met in 2006 on the set of the film, "Stop-Loss," and survived intense media scrutiny following Phillippe’s divorce from Reese Witherspoon. Cornish has been in Vancouver for the last seven months shooting the film "Sucker Punch."
Reps for Phillippe could not be reached for comment.
Screenplay: Andrew Kevin Walker, David Self, Curt Siodmak (1941 screenplay)
Actors: Anthony Hopkins, Benicio del Toro, Emily Blunt, Hugo Weaving, Geraldine Chaplin
Cinematography: Shelly Johnson
Music: Danny Elfman
Release Date: February 12, 2010
Rating: 6 out of 10
Review:
The Wolfman is a remake of the popular horror classic that was produced by Universal over 60 years ago. Instead of capitalizing on a more contemporary adaptation of the character the studio decided to stick with the old plot and feel of the original. This includes the overseas location and time period, accompanied by plenty of blood and gore. This film could have been an amazing revamp of its predecessor but the excessive violence and unnecessary bloodshed ruins it all.
Lawrence Talbot, a haunted nobleman, returns to his family estate after his brother’s fiancee informs him of his death. It turns out that his sibling was murdered in the woods by a mysterious creature, who inflicted fatal wounds that weren’t of human origin. Against the advice of others he delves deep into his search, which sets a life changing event in motion. Throughout the film we try to figure out if it was destiny, a curse, or bad luck that leads him to his fate of becoming the Wolfman.
The Good:
Anthony Hopkins: The Oscar winning actor was the epitome of evil as Lawrence’s father. He was so emotionally detached that every time his character appeared on screen you always wondered what was going on behind his eyes.The Horror: This film was genuinely scary. There are a lot of jump scares, but they actually work and make you want to check your surroundings ever so often.
Editing: The editing here helped with building up tension and fear within the film. There were certain scenes that could only work with the right cuts at the right time, and they were able to pull that off.
The Bad:
The Direction: The cast of this film was great, but it didn’t seem like their talent shined through. It takes a good director to bring out the best in their actors, and that didn’t happen here. Joe Johnston had two Oscar winners, and a Golden Globe nominee, yet they all gave mediocre performances. It makes you wonder what type of direction he was giving them.The Accents: The location of the film is supposed to be near London, yet everyone’s accents are completely different. Del Toro’s is American, which they explain in the film, but Blunt and Hopkins are another story. Both actors are British in real life, yet Blunt sounded like an American doing her best British impersonation.
The Gore: There are some extremely graphic scenes that didn’t need to be shown. Every time the Wolfman appears expect to see exposed intestines, stomachs, and plenty of heads being clawed off during your viewing.
Overall:
There are certain elements from the original Wolfman that do appear in the remake, the only problem is those similarities are overshadowed by unnecessary blood. This is not a movie for the weak at heart or those with sensitive eyes. The Wolfman is a mixture of old school Gothic horror mixed with the Saw franchise. Does that sound like a pleasant combination to you? If so, you should definitely give it a shot this weekend.
| Directed by | Martin Scorsese |
|---|---|
| Produced by | Bradley J. Fischer Mike Medavoy Arnold W. Messer |
| Written by | Laeta Kalogridis Steven Knight Dennis Lehane (Novel) |
| Starring | Leonardo DiCaprio Ben Kingsley Mark Ruffalo Michelle Williams Patricia Clarkson Emily Mortimer Ted Levine John Carroll Lynch Elias Koteas Jackie Earle Haley and Max von Sydow |
| Music by | Robbie Robertson |
| Cinematography | Robert Richardson |
| Editing by | Thelma Schoonmaker |
| Studio | Phoenix Pictures Appian Way Productions Sikelia Productions |
| Distributed by | Paramount Pictures |
| Release date(s) | February 19, 2010 |
| Running time | 138 minutes |
| Country | United States |
| Language | English |
| Budget | $80 million |
Review:
Director Martin Scorsese's latest collaboration with Leonardo DiCaprio is a brain-scrambling good time.
The latest chapter in Martin Scorsese’s fruitful DiCaprio phase is the haunting psychological thriller Shutter Island. Based on the bestselling novel by Mystic River author Dennis Lehane, Shutter Island casts Leo as U.S. Marshal Edward “Teddy” Daniels, a World War II veteran and recent widower assigned with investigating the escape of a female inmate from Ashecliffe Hospital, a facility for the criminally insane housed on an ominous island outside Boston Harbor.
Ashecliffe Hospital is the Casa Bonita of mental institutions, a decaying, storm-battered Gothic fortress packed with raving, homicidal crazies from all sides of the lunatic spectrum. Orderlies, dressed in asylum white and almost uniformly African-American, attempt to subdue their screams, while impassive physicians subject their brains to all manner of rudimentary — and often barbaric — experimental “treatments” considered cutting-edge in the early ‘50s. (Shutter Island's story is set in 1954, back when lobotomies were regularly dispensed and homosexuality was still officially classified as a mental disorder.)
The proprietor of this madhouse is Dr. Cawley (Ben Kingsley), an effete, probing psychiatrist whose bowtie alone suggests a near-infinite capacity for evil. (Seriously — never trust any bowtie-wearer not named Pee Wee Herman. Just look at this guy.) He’s flanked by the German-born Dr. Naehring (Max Von Sydow), a vision of clinical Teutonic malevolence wrapped in a labcoat and wire-rimmed glasses. Needless to say, Marshal Daniels is immediately suspicious of both.
The case of the missing inmate proves to be something of a red herring, and Shutter Island an abrupt conspiratorial turn when Daniels reveals to his partner, Chuck Aule (Mark Ruffalo), his true motive for coming to Ashecliffe: Housed somewhere within its walls, he believes, is the arsonist responsible for the apartment fire that killed his wife, Dolores (Michelle Williams), just a few years prior. What’s more, Ashecliffe appears to be no mere hospital, but rather a secret government facility wherein gruesome, Nazi-inspired mind-control experiments are conducted by the House Un-American Activities Committee in the hopes of gaining an edge on the Commies.
Suddenly, faint sounds of the cuckoo alarm can be heard, and as Daniels sets out to unravel the conspiracy, the conspiracy has already begun to unravel him. Wandering through Ashecliffe’s creaking labyrinth, he's beset by haunting visions and engulfed by Scorsese’s menacing, atmospheric blend of flickering lights, leaky ceilings, violent thunderclaps, deranged inmates, and other classic crazymaking cinematic conventions. Throw in some abrupt smash cuts, a jarringly arrhythmic score, and an undercurrent of Cold War paranoia, and you've got yourself one terrifyingly potent, batsh*t crazy stew.
Sometimes too potent. Shutter Island's narrative is bedeviled by inconsistent pacing, its slow burn all too often interrupted by overlong, exposition-heavy dialogue exchanges that effectively halt the film's momentum, forcing Scorsese to build the tension again from scratch as we struggle to process the revelations that have just been dumped upon us. And its extended "I see dead people" denouement strays into the hackneyed abyss of Shyamalan-land. Thankfully for us, it doesn't linger long enough to spoil all the brain-scrambling fun.
Ashecliffe Hospital is the Casa Bonita of mental institutions, a decaying, storm-battered Gothic fortress packed with raving, homicidal crazies from all sides of the lunatic spectrum. Orderlies, dressed in asylum white and almost uniformly African-American, attempt to subdue their screams, while impassive physicians subject their brains to all manner of rudimentary — and often barbaric — experimental “treatments” considered cutting-edge in the early ‘50s. (Shutter Island's story is set in 1954, back when lobotomies were regularly dispensed and homosexuality was still officially classified as a mental disorder.)
The proprietor of this madhouse is Dr. Cawley (Ben Kingsley), an effete, probing psychiatrist whose bowtie alone suggests a near-infinite capacity for evil. (Seriously — never trust any bowtie-wearer not named Pee Wee Herman. Just look at this guy.) He’s flanked by the German-born Dr. Naehring (Max Von Sydow), a vision of clinical Teutonic malevolence wrapped in a labcoat and wire-rimmed glasses. Needless to say, Marshal Daniels is immediately suspicious of both.
The case of the missing inmate proves to be something of a red herring, and Shutter Island an abrupt conspiratorial turn when Daniels reveals to his partner, Chuck Aule (Mark Ruffalo), his true motive for coming to Ashecliffe: Housed somewhere within its walls, he believes, is the arsonist responsible for the apartment fire that killed his wife, Dolores (Michelle Williams), just a few years prior. What’s more, Ashecliffe appears to be no mere hospital, but rather a secret government facility wherein gruesome, Nazi-inspired mind-control experiments are conducted by the House Un-American Activities Committee in the hopes of gaining an edge on the Commies.
Suddenly, faint sounds of the cuckoo alarm can be heard, and as Daniels sets out to unravel the conspiracy, the conspiracy has already begun to unravel him. Wandering through Ashecliffe’s creaking labyrinth, he's beset by haunting visions and engulfed by Scorsese’s menacing, atmospheric blend of flickering lights, leaky ceilings, violent thunderclaps, deranged inmates, and other classic crazymaking cinematic conventions. Throw in some abrupt smash cuts, a jarringly arrhythmic score, and an undercurrent of Cold War paranoia, and you've got yourself one terrifyingly potent, batsh*t crazy stew.
Sometimes too potent. Shutter Island's narrative is bedeviled by inconsistent pacing, its slow burn all too often interrupted by overlong, exposition-heavy dialogue exchanges that effectively halt the film's momentum, forcing Scorsese to build the tension again from scratch as we struggle to process the revelations that have just been dumped upon us. And its extended "I see dead people" denouement strays into the hackneyed abyss of Shyamalan-land. Thankfully for us, it doesn't linger long enough to spoil all the brain-scrambling fun.
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