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Rowdy Rathore (2012) – First Look / Movie Stills Genre: Action Producer: Sanjay Leela Bhansali, Shabina Khan, Ronnie Screwvala, Zarine Mehta Director: Prabhu Dheva Star Cast: Akshay Kumar & Sonakshi Sinha Music Director: Jeet Gannguli Choreography: Saroj Khan

Akshay Kumar and Himesh Reshammiya have joined hands to produce an action comedy, titled KHILADI 786 – MADE IN PUNJAB, which will release in Diwali 2012. The film will star Akshay Kumar in the title role and co-star Himesh Reshammiya, who will enact the role of a Gujarati named Mansukh, while Paresh Rawal will play Himesh’s father Champaklal. The leading lady opposite Akshay is yet to be finalized.Himesh Doing Music Like Bodyguard.

There are two extremely pivotal roles in this action comedy, which, according to sources, will star two mature superstars. The film is directed by Rohit Shetty’s assistant Ashish R. Mohan and has story and music by Himesh Reshammiya. Eros International will present the film in association with HR Musik and Hari Om Entertainment.Akki Is Very Excited about the music and movie.

This Movie Releasing On Diwali 2012

Releasing this summer....all I can say is WOW! The posters here definitely are intriguing and worth a look. Both Sonam and Shahid look great too. Love their different looks. All in all, cant wait!

Heres the first look of Murder 2 with Emraan and jacqueline Fernandez in the lead. jacqueline replaces Mallika Sherawat for the lead heroine.

Sudhir Mishra returns. And he does that it style! Yeh Saali Zindagi is a complex plot told with the maturity that is expected out of a seasoned director like him.

The film has quite a two clear parallel stories. One story is about Arun (Irrfan Khan) and love of his life Priti (Chitrangda). However while he is away for a month his friend Shyam (Vipul Gupta) sweeps Priti off her feet. The other story is about Kuldeep (Arunoday Singh) and his wife Shanti (Aditi Rao). Kuldeep is assigned the job to kidnap Shyam who is supposed to get married to the daughter of the Home Minister. And he kidnaps Priti along with Shyam as they believe she is his fiancee. Arun decides to get Priti out of the trouble but realizes that he will have to help Shyam too to see her happy! Political leaders and underworld dons are also pulled into the story taking it into a chaotic zone. But never for once does the film move away from the actual plot.

What works for the film is Mishra's grip on every department of filmmaking. While he comes up with a super tight and well paced script, he converts it into an equally impressive film. Each character stands out beautifully, up to the smallest goon. Yeh Saali Zindagi is shot very effectively and the director shows great understanding of cinematic language in the effects he uses. The narration goes back and forth into the past and also the characters doing the voiceover change quite a few times. But it never gets confusing for the audience. The music too is used very well as a part of the narrative. One of the strongest points of the film is its dialogues. While they are very fitting of the characters they also keep the humour alive. The high frequency of profanity might be an issue for many though.

The performances are top grade. Irrfan Khan scores above all with his impeccable timing - something he is known for. Chitrangda Singh does her bit but for some reasons has quite an anglicized Hindi accent. Arunoday Singh fits into his character very well and so does Aditi Rao. The chemistry between the two is expressed well and the 22 kisses (that made a lot of news) they shared on screen never seem out of place or forced. The supporting cast has its own impact on the story.

Yeh Saali Zindagi is elementarily a love story but the chaos adds the element of thrill in it. And then the characters and dialogues complete it. In essence it is similar to Mishra's cult Iss Raat Ki Subah Nahi as it most of the story happens within a day while flashbacks collate to give a backgrounder to the situation. Overall, this is one crazy ride that entertains to the fullest and will leave you with a smile. Just a reminder: YSZ is an 'A' rated flick.

Listen to the songs of one of  Tanu Weds Manu (2011) - *ing: Madhavan,Kangana Ranaut,Jimmy Shergill,Deepak Dobriyal,Swara Bhaskar,Ravi Kissen,Rajendra Gupta,K K Raina,Eijaz Khan in Tanu Weds Manu directed by Anand L Rai










Source - Songs.pk

Check out Tanu Weds Manu Stills - *ing: Madhavan,Kangana Ranaut,Jimmy Shergill,Deepak Dobriyal,Swara Bhaskar,Ravi Kissen,Rajendra Gupta,K K Raina,Eijaz Khan in Tanu Weds Manu directed by Anand L Rai

Salman Khan covers the September issue of Stardust magazine. Salman goes for a full on Robinhood Pandey ishtyle for the photo shoot, the character from his movie Dabangg which also stars Sonakshi Sinha.

In the magazine Salman says:
"If spontaneity was acknowledged here, Govinda would have been the best actor in the country. Comedy is the most difficult aspect of acting. All this cheekhna chillaana and melodrama - it's the easiest thing to do in front of the camera. Intensity is very overrated."

127 hours was a package with a lot of feverish value behind it. Danny Boyle and A.R.Rahman fresh from last year’s phenomenal Oscar-winning spree were teaming up again with a real-life super-human story full of grit, determination and courage. Moreover this was in an experimental environment with digital camera, single character, single location and so on.

The film figures in this year’s Oscar-nominations. It is the real-life story of Aron Ralston who was trapped in the Blue John Canyon for five days and ultimately had to cut his own hand to rescue himself. The film tells this story, full of super-human spirit with a complete honesty and respect but above all with a crafty drama that never lets realism come in the way of entertainment or vice-versa. To begin with, this is one of the best achievements of the film.

For a film that remains in one location with one person for 3/4ths of the film it begins on an enthusiastic, high-octane note that establishes character more than setting a mood. A brilliant upbeat exposition shows Aron Ralston off to an expedition in the Blue John Canyon in Colarado with a gusto. He is happy, confident and in love. With adventure and the Canyon. He meets two girls, trekkers, shows them the way to their destination and but not before taking them to his secret haunt a cool, deep pool nestled in the womb of a crevice. The three have the time of their life falling off the crevice into the pool. After this exhilarating experience, Aron sets off to meet his destiny.

Soon enough and as innocuously as it must have happened in real life, Aron is trapped by the boulder. What follows after that is a brilliant expose of human psychology that makes the super-human victory of the story a sub-text.

Danny Boyle and Simon Beaufoy are in no hurry to tell the story. Neither are they worried that its uni-dimensional nature might bore. Not that they are unmindful of the pace or engagement. They invest the story with drama that is taut and real as well as gimmicky. But the gimmicks are justified in the character’s reality yet serve to bring forth a dramatic pace to an otherwise singular story.

127 hours does not pick on the inherent romance of the courageous story. Rather it picks on the psychology of the situation and tells it with a discerning drama that speaks of a very well-judged and attuned craft both in writing and direction. While the writing zooms into the minutiae of the mind and behaviour, the director keeps his eye tightly on drama yet weaving a kaleidoscope of reality, unreality and surreality of Aron’s situations. His past, present, key moments and those inconsequential, pass through his mind with regularity in bits and flashes adding a character as well as an experience to the story.

Noted for capturing psychedelic, dream-nightmare instances with verve and originality, Danny Boyle presents Aron’s story peppering it with enough hallucinations, dreams and illusions that are a basic outcome of his mental state. This detailed excavation of the mentalscape of struggle and survival makes 127 hours a sparkling, convincing and entertaining story which had all the dangers of becoming a docu-drama. James Franco’s stunningly involved performance is coupled with the claustrophobic absorbing cinematography and it is difficult to believe the actor is just acting.

Exceptional cinematography and a samurai-sharp editing helps Boyle achieve this. A. R. Rahman’s soundtrack matches the film every step with a nimble understanding of drama and realism. The high notes and thumping thundering orchestras give it as much power as eminently well-used silences provide the raw and vulnerable edge.

Woven as a gritty and edgy story the film ends on a somewhat tongue-in-cheek note, making light of Aron’s situation. This refusal to sentimentalise the story adds to emphasizing its importance even more and proves the age-old adage that it is not the story that matters, but the story-telling.

Rating- 4/5

Bollywood’s most famous awards – the Filmfare awards celebrated its 56th year yesterday. Below is the list of the winners of 2011: