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Love | Salman Khan, Revathi, Rita Bhaduri, Shafi Inamdar, Amjad Khan | Full Hindi Movie

Love | Salman Khan, Revathi, Rita Bhaduri, Shafi Inamdar, Amjad Khan | Full Hindi Movie

English Reviews

Review: Les Olympiades – Les Olympiades, Paris 13th (2021)

Les Olympiades – Les Olympiades, Paris 13th (2021)

Directed by: Jacques Audiard | 104 minutes | drama | Actors: Noémie Merlant, Makita Samba, Lucie Zhang, Jehnny Beth, Camille Léon-Fucien, Oceane Cairaty, Anaïde Rozam, Pol White, Rong-Ying Yang, Geneviève Doang, Xing Xing Cheng

Jacques Audiard is known for drama films that address social and societal themes. The French director’s oeuvre is characterized by realistic dialogues and unexpected explosions of violence. He is a filmmaker who has one foot in the present and the other in the past. As a result, his films are both topical and timeless. With ‘Les Olympiades’, Audiard returns to his French roots after his first English-language film ‘The Sisters Brothers’ (2018) and delivers an ensemble film about four young people in search of love and meaning in modern Paris.

Although the core of ‘Les Olympiades’ shows similarities with the majority of Audiard’s repertoire, his latest film turns out much less well. That is not due to the acting (the cast members clearly do their best), nor to the decoration (the film was shot in atmospheric black and white). The real problems of ‘Les Olympiades’ stem from the script.

In the film, we follow four main characters whose paths cross over a period of several months. They get to know each other, exchange beliefs and have sex. Lots of sex… Suddenly Audiard takes a clear step back. While many of his other films continue to surprise because of their story structure, ‘Les Olympiades’ is mainly repetitive in nature. The events shown feel trivial after a while, after which we start to hope for a serious upheaval. Unfortunately, the film always gets stuck in its initial setup.

It has gradually become a genre in itself: films in which we follow the worries of lonely people in large cities. With ‘Les Olympiades’ Audiard adds little new to this type of film. ‘Yi Yi’ by Edward Yang and ‘Lost in Translation’ by Sofia Coppola are more impressive in this context. And if we want to stay in Paris we can also talk about Mathieu Kassovitz’s ever merciless ‘La Haine’. In terms of style, these are three completely different types of movies. But what they have in common is that they manage to capture the turbulent life in a metropolis, with all its hectic and reclusiveness, in a beautifully subtle way. Jacques Audiard also has this ability. However, with ‘Les Olympiades’ he falls short.

English Reviews

Review: The Even Greater Slime Film (2021)

The Even Greater Slime Film (2021)

Directed by: Martijn Smits | 81 minutes | family, adventure | Actors: Bibi, Vincent Visser, Matheu Hinzen, Rómeycia Valentijn, Edson da Graça, Sarah Nauta, Marit Brugman, Tina de Bruin, Ferdi Stofmeel, Denise Aznam

Bibi, the slime queen, is back in the self-consciously chosen title ‘The Even Greater Slime Movie’, but unfortunately that’s where the self-awareness ends. This children’s film takes itself quite seriously, with an eerily superficial bad guy and a number of disturbing illogical actions, but copied from the first Slime film: lots of color, cheerfulness and slime…

Everything is going great with Bibi van Leeuwen. Slime is still her passion and she’s not alone. The number of subscribers to her YouTube channel, which she maintains with bestie Olivia, has passed 1 million, soon she will be awarded the Slime Talent Award in the annual Slime Talent Award Show and her father has started working from home to spend more time with his children. to spend. Bibi’s brother Daan now works with Vesper in her successful Vesper Toy factory. The only pressure Bibi feels is that she does want to come up with something new to present during the slime gala. And what Bibi doesn’t know is that someone is after her prize.

This Benji (Matheu Hinzen) tries with all his might to make a fantastic new slime recipe, but despite not having any lack of resources and perseverance, he can’t. His stepmother wants to help him, but above all wants him to love her. At a Meet & Greet with Bibi, Benji’s stops blow. His blunder (something with slime and wet pants) goes viral, with the result that he hates Bibi and wants nothing more than to take everything that makes her happy.

Almost everything in ‘The Even Greater Slime Movie’ revolves around Benji’s mission to knock Bibi off her throne, and of course that seems to work for a long time. Bibi’s popularity is declining, but the way this is happening is laughably implausible, as are other events in the film. Even the young target group feels (hopefully) that you cannot accuse someone of theft based on “incriminating imagery” that is not incriminating, that an adult relationship does not go ‘out’ on behalf of an app without an explanation of the how and why and that it is not proof that you are the creator of something if you can memorize something.

The children act best; centerpiece Bibi still effortlessly draws all the attention to herself, although – understandably given the approach of the story – she looks less cheerful and uninhibited into the camera than in the first film. There could have been a little more real humor in it (a joke like the one with the treadmill can best be omitted). Best friend Olivia (Rómeycia Valentijn) barely gets to do anything but look disappointed because Bibi doesn’t have time for her, but continues to support her friend through thick and thin. The stepmother isn’t the bad guy this time. Vesper’s sudden vacation is rather over the top, but an unavoidable point in the scenario, because this means that Brechtje (Tina de Bruin) who is totally unsuitable for the job of deputy manager can bring the bankruptcy of Vesper Toys very close. A whole lot of ifs and buts, in ‘The even bigger slime film’, but the target group will undoubtedly enjoy themselves at this barely one and a half hour lasting color and glitter feast. And en passant they learn something about octopuses and hopefully the ‘bullying is bad’ message gets through.

English Reviews

Review: The Manor (2021)

The Manor (2021)

Directed by: Axelle Carolyn | minutes | horror | Actors: Barbara Hershey, Fran Bennett, Stacey Travis, Devin Kawaoka, Ciera Payton, Jill Larson, Ashley Platz, Katie A. Keane, Mark Steger, Cissy Wellman, Nicholas Alexander, Jaquita Ta’le

After a stroke, it becomes difficult for Judith to take care of herself any longer and she moves to the Golden Sun Manor nursing home. There she quickly makes new friends, but her roommate is not doing so well. She tells that she is visited at night by a dark creature. Are these nightmares or is there something else more sinister going on in this nursing home? When residents suddenly die in a strange way and Judith also sees the terrifying figure, it seems like the latter… but now that she has been diagnosed with dementia, even her family doesn’t believe Judith anymore.

Like the other films in the second series of ‘Welcome to the Blumhouse’, ‘The Manor’ is a film that combines more traditional horror with a social message. The dark corridors of the ultra-quiet nursing home, where at night you can hear a pin drop and your hair no doubt stand on end as strange and ominous sounds or shapes break through the icy silence, is a fine backdrop for a film of this type. Apart from a few nice scenes, director Axelle Carolyn only partially succeeds in creating the ominous atmosphere that befits this film. The fine nuances that turn a reasonable horror film into a really good horror film are missing. In addition, it is a pity that some scenes are just a bit too dark and the sparse special effects are not exactly what you want.

The acting is quite decent. Barbara Hershey convinces as Judith, a woman who has lost a lot physically after her stroke, but is actually still too clear-headed for the nursing home she ends up in. We see a complex and layered character, with all the fears, desires and memories that belong to a human being of flesh and blood. The supporting cast also does its job properly.

While all sorts of shady dealings are happening in Golden Sun Manor, the true horror lies in losing the freedom and integrity over one’s own body that Judith experiences. She is subject to all kinds of rules and restrictions (no mobile phones, a prohibition to walk through the complex on her own) that she has unknowingly agreed to. The head of the nursing home is a milder version of the dictatorial sister Ratched from ‘One Flew over the Cuckoo’s Nest’. Especially after Judith is (wrongly) diagnosed with dementia, the place that should actually provide care and love slowly becomes a real prison.

But perhaps the worst nightmare is the total loss of your mental faculties and personality from the softening of the brain, a fate that befell some of Judith’s inmates. ‘The Manor’ shows the effects of this process, whereby once vivid memories, cherished persons and pleasurable activities fade into chimeras, hazy relics of a once dignified existence. Yet the film never becomes a profound drama about weighty themes such as mortality or senility. The themes are explored superficially, but not really deepened.

What’s left is a decent, not too terrifying horror film, laced with drama elements and just interesting enough to keep you interested for most of the running time.

Hollywood Full Movies

Full Movie: William | Full Adventure Drama Movie

William | Full Adventure Drama Movie

William – Two scientists fall in love and conceive the idea of cloning a Neanderthal. The result is William: the first Neanderthal to walk the earth in 35,000 years. William tries his best to fit into the world but his distinctive physical features and his unique way of thinking set him apart and provoke fear. William struggles to assert his own identity in a hostile world.

Stars: Brody Wilkinson, Connor Wilkinson, Obada Adnan

Full Movie Hollywood Full Movies

Full Movie: American Cowslip | Full Hollywood Comedy Movie | Val Kilmer | Ronnie Gene Blevins

American Cowslip | Full Hollywood Comedy Movie | Val Kilmer | Ronnie Gene Blevins

American Cowslip – Ethan Inglebrink is an eccentric, agoraphobic heroin addict who is obsessed with his garden. This dark comedy follows the last days of Ethan’s life as he struggles to find purpose at a time when it might be too late to even matter. Nearing eviction, Ethan gardens furiously in hopes of winning the $10,000 first prize in the “Garden of the Year” contest so he can pay his delinquent rent. Ethan tries to grow the perfect “American cowslip”, a beautiful, rare flower that will be the centerpiece of his garden and the floral representation of his life. When his efforts are thwarted by his landlord/high school football coach/next door neighbor, Trevor O’Hart, Ethan faces eviction and the loss of his beloved garden, his sanity and the camaraderie he shares with his best friend and poker buddy, Roe. Believing he has finally found true love, Ethan unknowingly expedites his own demise when he reciprocates the affections of Georgia, a beautiful seventeen-year-old girl who lives across the street and dreams of leaving Blythe and her abusive father behind. Head-to-head in a hilarious battle of the gardens, Ethan must rise to the occasion and fix the life that he has screwed up so badly. With a seemingly subconscious awareness of his impending death, he decides that if he’s going down, then he’s going down in style.

Stars: Ronnie Gene Blevins, Diane Ladd, Rip Torn, Val Kilmer, Peter Falk, Bruce Dern

American Movies English Reviews Netflix

Review: Bad Trip (2021)

Bad Trip (2021)

Directed by Kitao Sakurai | 86 minutes | comedy | Actors: Eric André, Michaela Conlin, Lil Rel Howery, Tiffany Haddish, Gerald Espinoza, Kaleila Johnson, Michael Starr, Yvette Tucker, Allan Graf, Kevin Cassidy, Cory DeMeyers

Once, in the distant past, ‘Jackass’ was the pinnacle of humor. This American company performed daredevil stunts and was not afraid to involve innocent people. By misbehaving himself enormously in front of an ignorant audience, quite strange scenes emerged from this. For example, a member of ‘Jackass’ decided in a sanitary shop to relieve himself in a demo setup of a toilet bowl. The public – and the shop owner – didn’t really like that. It did produce remarkable television. The success of ‘Jackass’ resulted in a lot of clones in the form of ‘The Dudesons’ and ‘Dirty Sanchez’. While the success of hidden camera jokes seems to be ebbing – except for the films around ‘Borat’ – there is suddenly Netflix vehicle ‘Bad Trip’. And yes, that is a kind of clone of ‘Jackass’, but a bit raunchier, dumber and rude. For the shape, a story has been made around the sketches.

A wimpy car mechanic (Eric André) goes on a road trip because he has fallen madly in love with a classmate from his high school. Although the lady in question has shown no affection, the mechanic decides to enlist the help of his mate (Lil Rel Howery). This friend has a sister (Tiffany Haddish) with a car. Sister is in jail and won’t mind if her vehicle is borrowed unsolicited, right?

If you like ‘Bad Grandpa’ with Johnny ‘Jackass’ Knoxville, you will love this ‘Bad Trip’ too. The jokes are crude, rude and dumb. Think of a rape scene in which a gorilla attacks a car mechanic, a passage in which a hand ends up in a blender and a prison break. All these crazy fragments take place in front of an ignorant audience.

The reactions of the terrified bystanders should reinforce the comic effect. ‘Bad Trip’ is a very flat film, but it is very well done. The scenes – no matter how gross or gross they may be – are creatively conceived and sometimes genuinely cleverly put together. How would you react in such a situation? You will often ask yourself this question during this movie. During the credits you can see how the cast and cameramen make it clear that the bystanders have been made fun of. That’s good for your heart, because you shouldn’t think that they didn’t know they were dealing with actors …

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Review: Unknown Pleasures – Ren xiao yao (2002)

Ren xiao yao (2002)

Directed by: Jia Zhang Ke | 107 minutes | drama, romance | Actors: Wei Wei Zhao, Qiong Wu, Qing Feng Zhou, Hong Wei Wang, Ru Bai, Xi An Liu, Shou Lin Xu, Ren Ai Jun, Dao Xiao, Zi Ying, Limin Wang, Tao Zhao

Although by no means comparable to standard Hollywood work, ‘Unknown Pleasures’ is for Zhangke’s relatively straightforward, focused narrative with a lot of momentum. There are still long takes in the film, for example with only a character riding his moped on the screen for a long time, but the shot sequence is often logical and practically every scene serves directly to drive the plot forward. The story is also clear and accessible to everyone. It features a central love story, and a clearly identified bad guy who must be fought. The fact that the tone is not always rosy, and an interesting social context can be observed, is to be expected in view of Zhangke’s personal preferences, and ensures that the film has not become a simple genre work.

The line of Zhangke’s film ‘Platform’, in which performing arts increasingly became part of pop culture – where they were previously mainly used as propaganda – is continued in this film. Dancer Qiao Qiao (Tao Zhao) performs in the film purely from a commercial point of view. She dances to promote the products of “Wines and Liqueurs from Mongolia”. Xiao Ji (Qiong Wu) meets her in this capacity and immediately falls in love with her. Despite his sometimes tough attitude, he is quite shy, and so his buddy Bin Bin (Wei Wei Zhao) puts a good word for him with the already experienced – and damaged – Qiao Qiao. He gets her to have him bring Xiao Ji into her trailer. She asks the boy what he wants to do with her, to which he is unable to say a word. When she says she had an abortion and asks if he still wants her now, he replies in the affirmative, adding, cool and cute, “I’ll make you melt like fresh noodles.” She is amused by this and gives him an unexpected kiss, which puts Xiao Ji in a trance in love for good. On the way back, on the back of Bin Bin’s moped, he still dreams of this while holding his size around his waist.

It is these kind of sensitive moments that give the film an attractive charm. Love is also important in Bin Bin’s life. His somewhat quiet, insecure girlfriend is about to take an exam and proposes not to see each other for a while. But normally they sit on the couch watching television together. Adorable is the scene in which they take each other’s hands and spontaneously start singing along with the song on TV, naturally, without any obvious dramatic transition or emotions on the faces.
In this case, too, all of this plays out against a real, historical and turbulent social background. Houses are being demolished, roads are being built, bombings are taking place, and members of the quasi-religious Falungong movement can be seen on television set on fire – a movement of which Bin Bin’s mother is a member.

Meanwhile, the youngsters are trapped in a world of aimlessness, not knowing what they can or want to do with their future. The feeling of being trapped in a situation seems to be explicitly symbolized in some scenes. In one such scene, Qiao Qiao tries again and again to leave her trailer without her dance outfit – and thus to stop working – but is pushed into her chair over and over again by her “friend” who blocks the doorway. It is a fascinating scene with Qiao Qiao rising from her chair again and again, and an expressionless friend who stops her in the same way. It is as if you are watching a continuous repetition. The cinematic equivalent of a record that gets stuck. Later, something similar happens with Xiao Ji,
In this vague situation, the characters are also left to the end, unsure of their future or a good prospect. Fortunately, some humor has been added to the film. When the two friends try to rob a bank, they make a fake bomb that is not very convincing. In any case, neither guy knows how to get it right. When Xiao Wu wears the thing around his neck and asks Bin Bin if it looks real, he replies, “The bomb is, you don’t.” And when Bin Bin has started a trade in illegal video CDs, Zhangke makes a funny reference to his previous work when a friend asks if he doesn’t have art films like ‘Xiao Wu’ or ‘Platform’. Unfortunately not. Then he takes ‘Pulp Fiction’.

English Reviews Netflix

Review: The Trial of the Chicago 7 (2020)

The Trial of the Chicago 7 (2020)

Directed by: Aaron Sorkin | 129 minutes | drama, history | Actors: Sacha Baron Cohen, Eddie Redmayne, Joseph Gordon-Levitt, Alex Sharp, Jeremy Strong, John Carroll Lynch, Yahya Abdul-Mateen II, Mark Rylance, Ben Shenkman, JC MacKenzie, Frank Langella, Noah Robbins, Danny Flaherty, John Doman Mike Geraghty, Kelvin Harrison Jr., Caitlin FitzGerald, John Quilty, Max Adler, Michael A. Dean, Meghan Rafferty, Brady Jenness, Steve Routman, Tiffany Denise Hobbs, Kate Miller

In 1968, the Democratic National Convention in Chicago degenerates into bloody riots as police and the Illinois National Guard crack down on protesters against the Vietnam War. After the presidential election, Richard M. Nixon comes to power. His Attorney General John Mitchell (John Doman) wants seven leaders of those protests and the chairman of the Black Panther movement Bobby Seale (Yahya Abdul-Mateen II) to be charged. They allegedly conspired to violently disrupt the Convention and face up to ten years in prison.

The eight are from all walks of life: Tom Hayden (Eddie Redmayne) and Rennie Davis (Alex Sharp) are short-haired students, Abbie Hoffman (Sacha Baron Cohen) and Jerry Rubin (Jeremy Strong) are long-haired “beatniks” of the Yippie movement, the middle-aged family man David Dellinger (John Carroll Lynch) a conscientious objector and John Froines (Danny Flaherty) and Lee Weiner (Noah Robbins) are not exactly leading figures and seem to have been chosen more or less by chance. It is quite remarkable that Seale also has to be brought to justice. He gave one speech in Chicago and was not involved in the riots at all. Although they have been sued jointly, the differences between them are significant: Hayden believes in institutional reform from within, while Hoffman and Rubin want to unleash a cultural revolution. Hoffman is convinced that this is a political process, while Hayden remains committed to his idea of ​​the founding principles of American democracy and due process. It soon becomes apparent that practice works differently than Hayden thinks.

Those who like American court dramas will love ‘The Trial of the Chicago 7’. The process is central and a large part of the film takes place in Judge Hoffman’s courtroom. This is interspersed with flashbacks to the grim atmosphere and the riots in the summer of 1968. As a result, more and more of the lead-up to the trial is revealed. The year 1968 is a traumatic one in American history. Young people are turning against the ongoing war in Vietnam. In March, President Lyndon B. Johnson announced that he would not run for re-election in November. In April, Martin Luther King is assassinated, followed two months later by presidential candidate Robert F. Kennedy. That summer, the Democratic National Convention meets in Chicago, Illinois. The various activist groups represented by the eight want to demonstrate there against the war. Although the then incumbent Minister of Justice Ramsey Clark (a nice supporting role by Michael Keaton) does not prosecute, his successor Mitchell thinks very differently. It is mind-boggling to see how much the process is manipulated. For example, Secretary Mitchell gives the prosecutors compelling instructions, which Richard Schultz (Joseph Gordon-Levitt) and Thomas Moran (JC MacKenzie) loyally carry out. And Judge Julius Hoffman (Frank Langella) also turns out to be anything but objective. While in the beginning one can laugh about his scrambling of the names of the suspects and his clarification that he is not related to Abbie Hoffman, he gradually forms a serious threat to the suspects and he relentlessly hinders a fair trial. Seale in particular has to suffer. He doesn’t have a lawyer, but to Hoffman’s chagrin, he is advised by fellow Black Panther Fred Hampton (Kelvin Harrison Jr.). The reason the movie is called “The Trial of the Chicago 7” is because Seale (No. 8) is removed from the trial, leaving seven suspects. Their lawyer, William Kunstler, starring character actor Mark Rylance, meanwhile desperately tries to get a somewhat orderly trial to take place. Rylance shows a passionate man with a great sense of nuance, who realizes that the outcome is already certain and then gradually exposes the farce.

It is only Sorkin’s second film as a director, after the thriller ‘Molly’s Game’ from 2017. Sorkin also wrote the screenplay himself, which is entrusted to him as a word artist. For example, he wrote the equally excellent court drama ‘A Few Good Men’ (based on his own play), ‘Charlie Wilson’s War’, ‘The Social Network’ and was the mastermind behind the hit series “The West Wing”. he was fired after four seasons for drug use. In this film, as a director, he puts down a strongly constructed and compelling story, which sticks to the real events quite well. It’s difficult to tell a process that takes months in just over two hours, but Sorkin keeps a tight grip on the storyline. The dialogues are of course again sublime, which are fluently spoken by a collection of excellent actors. Perhaps the witticisms and sharp remarks are sometimes a little too fluid. It’s not just Rylance who plays superbly; the entire cast plays good roles, where they all get one or more moments to shine. Frank Langella takes the viewer’s nerves as the authoritarian judge Hoffman and Sacha Baron Cohen deserves an honorable mention for his portrayal of Abbie Hoffman.

The film had a difficult production. Originally Steven Spielberg was going to direct the film in 2007 and he wanted Heath Ledger in the role that Redmayne now plays. The plans fell apart and in the end it was Sorkin himself who filmed his script. The COVID-19 pandemic threw a spanner in the works for an extended cinema release. The makers made a deal with streaming service Netflix, which added ‘The Trial of the Chicago 7’ to their wide film offer from October 2020.

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Review: Youth in Revolt (2009)

Youth in Revolt (2009)

Director: Miguel Arteta | 90 minutes | comedy, romance | Actors: Michael Cera, Portia Doubleday, Jean Smart, Zach Galifianakis, Erik Knudsen, Adhir Kalyan, Steve Buscemi, Fred Willard, Ari Graynor, Ray Liotta, Justin Long, Rooney Mara, Jade Fusco, Lise Lacasse, M. Emmet Walsh

The principle is simple: an intelligent, but insecure, adolescent young man is unsurprisingly still a virgin. In a dryly funny voice-over, there is an extensive discussion of his desperate mother, silly friends and himself. We follow him on the way to that one memorable moment: his defloration. Sounds familiar? Hell yes. “Youth in Revolt” is a so-called Coming of age comedy that deals with all fixed themes, without really surprising.

Nick Twist (Michael Cera) is one of those guys who listens to Frank Sinatra and who is totally misunderstood in the American suburb where he lives. When he goes to a trailer park with his mother and his friend for a week, something happens that Nick himself could never have foreseen. He meets a girl: Sheeni Saunders (Portia Doubleday). She is beautiful, intelligent and likes exciting French men. To impress his lover, Nick creates an alter ego: Francois Dillinger. A French from the book: white trousers, mustache and with a cigarette in the corner of his mouth. Where Nick waits, Francois takes matters into his own hands. To prove his love for Sheeni, Nick does things he might otherwise never do on the advice of Francois. Because in love and war everything is allowed.

The fact that in American films the actors are usually years older than they play is no longer news. Michael Cera himself is well into his twenties, but due to his silly appearance, he still plays sixteen-year-old boys. He must quickly change his career, because in three years no one will believe it anymore. The cast is basically good. None other than Ray Liotta plays an authoritarian police officer and Steve Buscemi has a small role as his father and the fat (Zach Galifianakis) from “The Hangover” can be seen as his mother’s unfriendly friend. But “Youth in Revolt” is not really convincing despite these resounding names.

There are jokes that can be laughed at, the situations are fun, but it’s not surprising enough. It’s quite funny to create an alter ego and do things that are actually not allowed, but Nick is not really rebellious, he just wants to lose his virginity. The ending of the film is easy to guess, and makes the film even less surprising than it already was. “Youth in Revolt” lacks a good dose of reality to be truly recognizable. Coming of age films of this kind have the side effect of having a very limited shelf life. There are so many adolescent films with humiliating sexual feelings and defloration as a central theme, that more is needed if you want to remember this film in five years’ time. A movie like this is quite fun when you’re sixteen yourself, but “Youth in Revolt” doesn’t have enough content or sex to stand the test of time.