Double Dhamaal catches up with the quartet of good-for-nothings - Roy (Ritesh Deshmukh), Adi (Arshad Warsi), Manav (Jaaved Jaaferi) and Boman (Aashish Chaudhary) - who are still dreaming of an easy life with minimal effort when they encounter their old arch-enemy: corrupt Inspector Kabir (Sanjay Dutt). Today, however, Kabir is no longer a cop. In fact, he seems to be doing rather well for himself, driving a Mercedes, working out of a plush office and living in a lavish villa. Naturally, the lads are keen to have some of that, so they promptly bribe Kabir into making them his business partners. What they don't realise is that Kabir has a hidden agenda, shared only with his sexy wife Kamini (Mallika Sherawat) and lovely sister, Kiya (Kangana Ranaut). Before long, the two sides are locked into a game of one-upmanship, with loads of cash at stake. But who will have the last laugh?
River W (ca) wrote: Contrasting the sane/insane to raise the question of who really is "sane"? Luckily this movie doesn't finish on either note but keeps it's distance from any conclusion therein.Beautifully shot movie following the gang of lovable crazies bickering and bumbling in a VERY casual depiction of their world inside the asylum. When war rages past and soldiers take cover inside, the obvious contrasts begin, but with a more human side to the soldiers than any flat war movie I've seen in ages.The pretty young blond Janna lives in her naively beautiful world where everyone has love and life, and whenever it isn't going well she whips out her accordion and light shines and everyone smiles and dances. She dreams of her love, Canadian star Bryan Adams, and is waiting for his advent. She soon gets swept up by a dimwitted and jesting soldier who proposed to her as a joke. There is a harshly awkward dinner scene where the two worlds are brought together, but then separated as the soldiers move on. Janna seems to lose herself after this and falls into a heavy woe as around her helicopters explode, lives are mysteriously taken, and old men compare apples and earth to explain their anorexia.While based on a true situation, this movie is a complete fantasy. It can't be taken that seriously; the beginning dream of Bryan Adams should be warning enough. It's a movie you should take at face value and enjoy the sensation afterward, not break it apart.
Jeanette D (kr) wrote: Insightful and interesting since I went to school in Indiana for grade 8, 9 and 10. Some of it was hell and some of it was ok. Highschool's a bitch and then real life starts anyways.
J K (gb) wrote: Never heard of any of these people.
neil L (nl) wrote: Kind of overrated but its a cool film
James S (kr) wrote: Unconventional but decent cat and mouse thriller. The underlying story is a little thin as rogue FBI agent Dennis Quaid goes off book to pursue the killer who has kidnapped his child. Meanwhile Jared Leto hitches a ride across country with Danny Glover in a car full of pictures of naked women. For a long time these two stories seem completely unrelated. Of course, they're not and even though some of the twists are kind of obvious they are done quite nicely. Quaid is used to playing this kind of role so it's no great shakes to him while Glover and Leto do exude good chemistry in their many scenes together. Switchback is slightly different in that for much of the film it appears to be telling two different stories and pits a huge gamble on it's audience not getting confused or fed up with the seemingly bizarre plotting and scene jumps. It does come good in the end though and the finale delivers a great action sequence which is both tense and exciting. Not exactly a film to set the world alight but a diverting and enjoyable watch nonetheless.
lauren b (ca) wrote: earnest but not entertaining
Bill R (es) wrote: Remarkable meta-textual reading of Chekhov with an outstanding cast.
Steve W (mx) wrote: This buddy cop movie does something a bit different. Instead of them both being cops, one is a wise-cracking streetwise criminal, the other a hard assed detective. Together, they must track down a duo of nasty cop killers. The racism is hard to take in, but its a statement on the period of the times. It also allows for a nice starting point for the tension and distrust, until the development that leads to these two men respecting each other. With just the right amount of thrills and laughs, 48 Hrs is solid fun.
Alex K (nl) wrote: My Favorite Thriller Film Is 1991's The Silence Of The Lambs.
Yva S (fr) wrote: Distracting continuity problems, poor background and character development, not terribly specific story, and bad American accents. I was happiest with this movie when it ended.
Reem A (gb) wrote: This is one of those movies you never forget. I've seen it many times now, and I never get tired of it. Everything about it is loaded with meaning and class. Katherine Hepburn is perfect as a 40-year-old spinster who goes to Venice and finds more than she expected to find. A beautiful story, beautiful cinematography and ageless classic.
Neville P (kr) wrote: fab fab fab story about a lonely boy who befriends an adolescent middle aged slob living on his fathers song royalties
Harry W (ag) wrote: Being one of the most critically acclaimed gangster films of all time, Scarface sounded like nothing short of a masterpiece.The first time I watched Scarface as a teenager I thought it was one of the greatest films I'd ever seen in my life because the raw nature of the protagonist and sheer violence in the film was so refreshing and original. I got caught up in the glamour of it all very heavily, and I loved it. Looking back on it a second time I can see several issues that prevent me from giving it the same status, but I will not deny that the film is a real masterpiece of gangster cinema. The original Scarface (1932) is one of the most iconic films of the pre-code gangster film era, but it had very much the same story to numerous other films of its time such as The Public Enemy (1931). But by borrowing the elements of protagonist Antonio "Tony" Camonte's power obsession and appropriating them into an updated gangster story with a greater emphasis on the drug trade of the 1980's, the story is able to carry over into the modern day as a loose remake. There are many moments which harken back to the original in a manner subtle enough not to interfere with the story but clear enough for fans to appreciate.But the scale of Brian De Palma's Scarface is far more epic than Howard Hawks', and so it has to capture a much greater period of time. One method of doing this is extending its running time to nearly three hours, but in terms of style it's interesting to note that the film uses both the time period ellipsis from the original Scarface and a quick-cut montage which is synonymous with the 1980's theme of the decade it was produced in. The montage itself is really iconic because it captures all the major aspects of the man's rise to power to the tune of the awesome song "Push it to the Limit" by Paul Engemann. Admittedly the film is not as consistently fast paced as this one scene as the majority of the film is prolonged conversations which all contribute to creating a 170 minute narrative, but the feature is kept interesting through the rich characterization of the protagonist and Brian De Palma's unapologetic sense of style.However, characterization also proves to be the predominant downfall of Scarface. The central issue with the film is that Tony Montana is the only character who gets any real characterization in the film. There are many supporting characters essential to the story in their own ways, but few of them get much of a developed character beyond being an archetype. Their sole purpose in the story is essentially to revolve around Tony Montana and further characterize him through their respective interactions, and though they do this very well there is a sense that we could have gotten more out of them. It makes sense when the focus is all on the titular character's self-obsessed rise and fall while a recurring theme in the film is the line "The World is Yours", but in terms of the longevity of the film there is a need for more characters to support the grand scale of the narrative and its nearly three-hour running time. This is where Oliver Stone's screenplay falls short, but given that he has a track record for self-indulgence this isn't necessarily surprising. At least his efforts to follow Tony Montana are rich and his dialogue is powerful enough to keep audiences consistently engaged.And Brian De Palma's sense of style is incredible. Building a raw image of the American dream, Scarface is packed with rich scenery and exquisite architecture. The entire setting provides a glamourous image of the American dream which is reinforced by the expensive cars and costumes, making every image a testament to the supposed glory of success in crime. The cinematography emphasizes this all with magnificent wide-angled shots that always maintain Tony Montana as the centre point of each shot, and the action scenes are shot and edited with flawless precision that captures the glory without forsaking the violence. The rich use of blood and gore in Scarface may border on excessive for some viewers, but it really does justice to the actual violence of gangster activity with a Martin Scorsese-esq passion for blood. The musical score is also great because it captures the manic energy of the decade during its fast-paced scenes while also adding subtle reinforcement to the intense atmosphere when things get heavy while the sound editing helps make the feature climactic. But it's Al Pacino who truly makes Scarface an unforgettable film. The instant Al Pacino enters the screen, he is immediately the clear highlight of the film. His Cuban accent is flawless and so unlike the man's natural voice that he immediately becomes someone completely different. Al Pacino buries himself so deeply in the role that it becomes easy to forget that the man is acting and to simple accept that Tony Montana is reality. The character's ruthless search for power displays a refusal to back down in the face of anyone, no matter how intimidating anyone else may be. As a result he becomes one of the most ruthless characters to ever face the world of cinema. Al Pacino reaches his most violent and remorseless in Scarface, going above and beyond the standard for villainy he set in The Godfather Part II (1974) to achieve the truly greatest performance of his career. Al Pacino turns Tony Montana into the coolest gangster in the history of cinema due to his sheer fearlessness and brute strength while also maintaining the sophisticated wit and charm of a wise business man. He is disassociated with his humanity enough to be a real antagonist yet not bereft of human error or some kind of genuine heart, though he does not make this into a vulnerability. He really pushes to project the seemingly immortal nature of the character and never loses focus, delivering every line with raw ferocity that grips the attention of viewers. Al Pacino's leading performance in Scarface is one of the single greatest performances ever given in cinema, and he maintains the audience attention throughout the entirety of the 170 minute running time.Steven Bauer lends a strong supporting effort. Despite the limitations with characterization of Manny Ribera, he shares an intense chemistry with Al Pacino and carries his own sense of charm. Mary Elizabeth Mastrantonio's gentle vulnerability creates a strong contrast to Tony Montana's relentless nature while Michelle Pfeiffer creates a powerful enabler to his anger. Robert Loggia is also a strong supporting player due to the way he presents intimidation at the beginning of the story before succumbing to desperation later on.Scarface may be a rather slow and long story which lacks sufficient development for its supporting characters, but Brian De Palma's brilliant sense of style and Al Pacino's flawless leading performance makes for an exceptionally thrilling gangster epic.