Hello My Dear: Wrong Number

When Mohanlal gives a girl who runs into his cab a ride; he unknowingly becomes involved in a murder/mystery.

When Mohanlal gives a girl who runs into his cab a ride; he unknowingly becomes involved in a murder/mystery

Hello My Dear: Wrong Number is a new movie of Sreenivasan. The released year of this movie is 1986. We can counted many actors in this movies torrent, such as Mohanlal, Lizy, Mukesh, Captain Raju, Maniyanpilla Raju, Jagathi Sreekumar, Sreenivasan. The kind of movie are Thriller. The rating is 6.6 in www.imdb.com. This is really a good movie torrents. Please support us via sharing this movies to your friends

Hello My Dear: Wrong Number torrents

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Hello My Dear: Wrong Number 1986 torrent

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Download   Hallo My Dear Wrong Number Malayalam Movie Other 29 34 597 MB

Users reviews

Billy M (kr)

It's the kind of character that makes you wonder what happens to him later in his life. Jamal Wallace was a very likable character

Chris S (mx)

All style, no substance

Daniel M (us)

If only its narrative standards had been maintained for the sequels. But it is a great deal more agreeable than many would lead us to believe. Aspects of it are cartoony or melodramatic, and it's hardly the most original or accomplished piece of cinema around. Step Up is a surprisingly decent dance film, which acquits itself perfectly well as both a physical showcase and a piece of storytelling. While the film isn't as nuanced as Fame in this regard, the dramatic twist involving the younger boy is handled delicately, so that it compliments the drama rather than pulling us out of it. Many films which are melodramatic in nature feel the need to inject some kind of darkness partway through their plots in a desperate bid to be taken seriously. Step Up also deserves credit for maintaining control over its tone. The film does, however, become a little more cartoony in this respect, with Nora's dance partner Brett being very thinly-written. Tyler's natural talent is plain for all to see (except himself), and yet it's hard to imagine him being given a level playing field with the more privileged members of the school. There is also a nice comment in the film about how snobbery and tradition can actually put off the most talented people in a given field. Tatum and Jenna Dewan have good chemistry together, which eventually led to them getting married in 2009. Nora learns to loosen up and have fun, which makes her dancing more natural and appealing. Tyler not only understands responsibility, but he actively seeks it, eventually commiting to putting on a killer show and making a living. The relationship between our two main characters is a breaking down of barriers, with both sides learning to respect traits of the other. Nora, by contrast, is a prisoner of rigidity, being so tightly bound by the rules and traditions of classical music and dance that she can neither innovate nor stimulate. Tyler's laid-back, devil-may-care attitude gives him the freedom to take his dance moves wherever they choose to go, but he lacks the ability to focus which could make him potentially dance for a living. Step Up uses its two conflicting styles of music to reflect the flaws of the individual characters. This plot is among the most well-worn in film, but it is applied in a somewhat engaging way. Over the course of the film they swap tips and interests, gradually grow to like and respect each other, and after a brief cooling of their relationship, they decide they really need each other and triumph. It's the classic story of two people from completely different backgrounds whose only means to get what they want is to team up. The story of Step Up, by contrast, is incredibly conventional. Channing Tatum's appearance doesn't suggest that he would be a good dancer, but he both looks and feels the part, and his deadpan nature plays into the hands of the role, unlike his later performance in The Eagle. As a showcase for how exciting dancing can be, the film is on a par with some of the classic Hollywood offerings I mentioned. While less kinetic or feverish than in some of the sequels, there's still an awful lot of physical effort that goes into the various sequences. The set-pieces in Step Up are of a very high quality. But while Walters ultimately failed to tell his story in an interesting way, Fletcher has enough grasp of cinematic narrative to hold our attention. There are occasions when we get the impression that the sets have been deliberately designed to be as big and spacious as possible, to allow more room for the dancing and more scope for the camera movements. Much like Charles Walters, director of High Society, Anne Fletcher comes from a background in choreography. You won't find here any of the evocative colour shifts and shadows that he achieved in Angel Heart, but the colour palette is inviting and his use of wide angles is judicious. Michael Seresin has spent much of his career working with Alan Parker, lensing all of his films between Bugsy Malone and Come See The Paradise. Despite not having the visual splendour of Luhrmann, Darren Aronofsky or Powell and Pressburger, Step Up is still a decent-looking film. Instead of dazzling you with MTV-style cuts and empty, shallow bombast, the film is an altogether gentler beast, whose moments of posturing are tame and infrequent. But it does belong in the same camp, since its dancing is used to explore ideas and character traits rather than just serve as a distraction. Step Up may not boast the richly-layered themes of any of these offerings, nor is it as visually ravishing. Even Strictly Ballroom, Baz Luhrmann's raucous debut, is less about ballroom dancing than the fight against orthodoxy and how the fear of failure cripples people. Black Swan is about the need to embrace one's dark side in striving for artistic perfection, even at the cost of one's sanity. The Red Shoes is about the boundary between fantasy and reality, and the tension between creativity and common sense. The best dance films, in any sub-genre, succeed because they are not really about dancing. As I argued in my review of Crouching Tiger, Hidden Dragon, it is possible to enjoy these films as artistic endeavours rather than narrative ones, but for the less freeform among us, even the best leave us with an unsatisying niggle. Even in the so-called golden days of Fred Astaire and Ginger Rogers, around ten times the effort seemed to be expended on the dancing than on the events that made them dance in the first place. It's very easy to view dance films as essentially a series of set-pieces held together by a threadbare story. It's hardly game-changing in its construction, but it is surprisingly heartwarming and comes across as more genuine than you might expect. But where its sequels increasingly sacrificed narrative for the sake of set-pieces, the film that started it all gets a good balance and is the most focussed of all the series. At the more mainstream end of this wave we have Step Up, the first in a series of five films (to date) which combine predictable plots with often jaw-dropping dancing. Where classic-era Hollywood dance films were dominated by ballroom, ballet and tap dancing, the 2000s gave us film after film in which impressive street or hip-hop choreography came face-to-face with decades-old romantic and dramatic conventions, with varying degrees of success. The surprise commercial success of Save the Last Dance ushered in a wave of films focussed around street dance and hip-hop

Glenn M (fr)

If anything this film is held aloft by its fine performances and honesty making it worth a watch in my books. I feel at times this worked and at times it just doesn't sadly. The comedy on display from Jenny Slate is painfully honest and ironic. It is a short film being less than 90 minutes and that is a positive aspect because it does become pedestrian at points. Obvious child is a nice film with charming performances, especially from Jenny Slate and Jake Lacy

Hrant B (mx)

It just wasn't realistic but I would definitely recommend this movie. I didn't expect it to end the way it did. This was a very interesting movie. Steven Root's character reminded me of his character from the Office Space. Justin Long was remarkable in this movie, although this movie had other great actors

Jon C (es)

for any comic book fan or general moviegoer this a fun, entertaining rideyou'd think it'd be just the Man of Steel and the Dark Knight but no, it actually has Wonder Woman and Supergirl of all thingsit has a lot of well-staged action, slick animation, and is very character-driventhe focus is mainly on Kara-El who lands on Earth and is lost on how to find her place in a strange new worldBatman is very skeptical seeing as she's the only last survivor of an extinct planet but Wonder Woman feels she may be better off in an advanced-trained environment with the Amazonian warriorsall 3 heroes clash over what's best for Clark's cousin and Kara only wants to be her own championon the planet Apocalypse the villainous Darkseid is looking for a new guard warrior under his command, Kara looks like the perfect candidate the film teaches the viewer that the best we can strive towards is heroism no matter where we come fromit's our own choices that have us aspire to be normal while still doing the extraordinary fun fun fun

Kevin P (nl)

Het heeft ze momenten voor een betere film, maar die moet je toch echt goed kunnen vinden. In een film waar het meeste is geleend van de Koreaanse film Oldboy, is Samuel L Jackson zelfs iemand die duidelijk kan laten zien wanneer hij niet veel zin heeft in acteren

Kilo D (au)

is on its way, refer to that when it's posted. An essay on Lewton and co

Lyndon P (gb)

Anyway in spite of that rant it's actually a pretty decent flick. Would have been so much better if they just left that out, it was so cheesy anyway and the aformentioned poorly chosed theme song playing with it didn't help either. I guess the moral here is that it's ok to kill in cold blood as long as the person deserves it? Bah. WHAT THE FUCK. After all that, we have this final scene where he dies, sees his lover Mary, and walks off into the light with her. John even utters the words 'I failed' in reference to failing to find forgiveness in his heart. Certainly this gives the audience some satisfaction who are longing to see Will get his. Ok fine and good. In spite of all this James is unable to turn the other cheek and hunts down Will Tunney and kills him in cold blood. James Connor is warned of this over and over throughout the movie, first by his father, then his love interest, then her brother who even goes so far to say that if the follows that path he will lose any chance of being with Mary at 'the end' and then again by Miakoda. The recurring theme throughout the film is the battle of forgiveness versus vengence. This was not only completely unnesessary but also turned the film into a complete contradiction of itself. My second and biggest complain tho is the last 3 minutes of the film where James Connors goes off to die. ***SPOILERS AHEAD!!!*** I have only 2 complaints about this film, first of all I didn't like the main theme song, it felt out of place and shattered the illusion that we were in civil war times. The film is a bit cheesy at times but it's still better than 99% of the crap I've seen in the last few months. Angus Macfadyen gives a stellar performance for the character of Will Tunney, best movie villain I've seen in a while. This movie was actually a lot better than I anticipated

Marsian S (es)

What the actual fuck?