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Madhavan's performance Knockout
Another sports film.
story:
Madhavan’s ( Middle Aged Coach) act crackles with far more tension than what Shah Rukh Khan brought to a similar role in Chak De India. This is Madhavan’s career-defining performance. He sinks so deep into his role both physically and emotionally, that the actor becomes one with the act, the dancer and the dance, the sports and player merge and melt into one another with a soul-stirring fluency.
Regrettably, a wispiness and, even worse, a weariness creeps into the lengthy narrative specially when the girl begins her embarrassing seduction act over her coach. I held my breath for the seduction song which luckily didn’t come. It’s all charted territory explored by two adventurous players who certainly deserved a more rewarding journey with many more bends and curves.
It’s not as if the writer-director plays it safe all the way. There are some moments in the film when the combustive energy of the mentor and the protégée threatens to flare up into something impressively explosive. But the big moments are squandered in stereotypical exchange of insults, not quite adding up to the life-giving food for thought that you hope and pray the film would eventually turn out to be.
Saala Khadoos is an unabashed unapologetic film, whose two main characters’ graph moves together from the opposite sides of the moral arc. While he's gruff, cynical and burnt-out, she is raw, eager and stepping out into the big wide world. We both know they would find their redemption together. It’s the way the cookie crumbles.
Saala Khadoos promised a rugged sports film, and it delivers. The film, though lengthy, never makes a dull watch. Sathish Suriya’s editing is sharp. It takes away the rough edges from some of the awkwardly written scenes, where the lines seem to be borrowed from rejected episodes of Chandrakanta.
But let’s salute the film’s third hero. Sivkumar Vijayan’s camerawork glides across the simmering surfaces capturing the anger frustration and bitterness of Madhavan’s character before moving inwards to peer into the anatomy of human failure and redemption.
Analysis : This is completely Madhavan's performance Knock-Out.
story:
Madhavan’s ( Middle Aged Coach) act crackles with far more tension than what Shah Rukh Khan brought to a similar role in Chak De India. This is Madhavan’s career-defining performance. He sinks so deep into his role both physically and emotionally, that the actor becomes one with the act, the dancer and the dance, the sports and player merge and melt into one another with a soul-stirring fluency.
Regrettably, a wispiness and, even worse, a weariness creeps into the lengthy narrative specially when the girl begins her embarrassing seduction act over her coach. I held my breath for the seduction song which luckily didn’t come. It’s all charted territory explored by two adventurous players who certainly deserved a more rewarding journey with many more bends and curves.
It’s not as if the writer-director plays it safe all the way. There are some moments in the film when the combustive energy of the mentor and the protégée threatens to flare up into something impressively explosive. But the big moments are squandered in stereotypical exchange of insults, not quite adding up to the life-giving food for thought that you hope and pray the film would eventually turn out to be.
Saala Khadoos is an unabashed unapologetic film, whose two main characters’ graph moves together from the opposite sides of the moral arc. While he's gruff, cynical and burnt-out, she is raw, eager and stepping out into the big wide world. We both know they would find their redemption together. It’s the way the cookie crumbles.
Saala Khadoos promised a rugged sports film, and it delivers. The film, though lengthy, never makes a dull watch. Sathish Suriya’s editing is sharp. It takes away the rough edges from some of the awkwardly written scenes, where the lines seem to be borrowed from rejected episodes of Chandrakanta.
But let’s salute the film’s third hero. Sivkumar Vijayan’s camerawork glides across the simmering surfaces capturing the anger frustration and bitterness of Madhavan’s character before moving inwards to peer into the anatomy of human failure and redemption.
Analysis : This is completely Madhavan's performance Knock-Out.
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Strictly for Sex Maniacs and lovers of vulgarity
There are few films which must not be watched with parents.Yes,MASTIZAADE is completely out of out Adult comedy film.lets watchout whats theplot.
STORY:
The film is all about two sex addicts Sunny (Tushar) and Aditya (Vir Das) those keep on going to rehabilitation centers to control their sexual drive. In the process, they accidentally find beautiful twin sisters Laila and Lily (Sunny Leone) those also run a kind of sex rehab center. Laila and Lily are the daughters of a sex addict mother (Sushmita Mukherjee) and a patriotic father (Asrani). Sunny and Aditya fall in love with Laila and Lily respectively but Lily gets engaged to Deshpremi (Shaad). How Aditya gets her playing sex dramas forms rest of the story.
The film is a sex fools' paradise where every dialogue, every shot and every gesture is filled with hard core adult humor.
To mention a few:
- The episode of Dr. Maalkholkar's Sex addict rehabilitation center (Read doctor's name again!!)
- A brief stint of Tushar with a sex partner when he knows that he had transgender sex
- When Sunny Leone says "I am playing with my pusky" (the word pusky perfectly sounded like 'pus*y)
- Obscenity crossed borders wit direct connotation in the scene "sikka hilegi toh fail", where Sunny Leone keeps coins on the pants' zip of men and they raise up and hit the roof when she opens her blouse ('erection' is the essence here)
- The name of a busty bank manager is Titli Boobna (read the name again!! It's not the Hindi butterfly Titli but English 'Tit'li)
- Hritesh's Orgasm Ashram before the climax is a sex maniac's paradise.
Analysis:
This film is produced by the nationally acclaimed journalist Pritish Nandy. Censor board kept the film in hold and members might have rightly thought the certificate 'A' is too small for its content. It's a clear 'X' rated film, that made more with groins and less with brains.
A few scenes seem to have been lifted from foreign films. One example is the climax scene resembles to that of Jackie Chan's 'The Myth'. Keeping the truths and integrities aside, the film is a wholesome entertainer for only those who run porn in their heads.
STORY:
The film is all about two sex addicts Sunny (Tushar) and Aditya (Vir Das) those keep on going to rehabilitation centers to control their sexual drive. In the process, they accidentally find beautiful twin sisters Laila and Lily (Sunny Leone) those also run a kind of sex rehab center. Laila and Lily are the daughters of a sex addict mother (Sushmita Mukherjee) and a patriotic father (Asrani). Sunny and Aditya fall in love with Laila and Lily respectively but Lily gets engaged to Deshpremi (Shaad). How Aditya gets her playing sex dramas forms rest of the story.
The film is a sex fools' paradise where every dialogue, every shot and every gesture is filled with hard core adult humor.
To mention a few:
- The episode of Dr. Maalkholkar's Sex addict rehabilitation center (Read doctor's name again!!)
- A brief stint of Tushar with a sex partner when he knows that he had transgender sex
- When Sunny Leone says "I am playing with my pusky" (the word pusky perfectly sounded like 'pus*y)
- Obscenity crossed borders wit direct connotation in the scene "sikka hilegi toh fail", where Sunny Leone keeps coins on the pants' zip of men and they raise up and hit the roof when she opens her blouse ('erection' is the essence here)
- The name of a busty bank manager is Titli Boobna (read the name again!! It's not the Hindi butterfly Titli but English 'Tit'li)
- Hritesh's Orgasm Ashram before the climax is a sex maniac's paradise.
Analysis:
This film is produced by the nationally acclaimed journalist Pritish Nandy. Censor board kept the film in hold and members might have rightly thought the certificate 'A' is too small for its content. It's a clear 'X' rated film, that made more with groins and less with brains.
A few scenes seem to have been lifted from foreign films. One example is the climax scene resembles to that of Jackie Chan's 'The Myth'. Keeping the truths and integrities aside, the film is a wholesome entertainer for only those who run porn in their heads.
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