Detective Feluda, with the help of his nephew Topshe and the writer Jatayu, investigates smuggling and illegal trading in ancient sculptures across India.
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Ramesh M (de) wrote: Being an atheist myself I saw this movie to see where they were gonna take the entire story line towards. Th best thing about this movie was Paresh Rawal. Not so good things were the second half of the script and Akshay Kumar , I would have loved to see how the entire plot would have unfold without presence of God himself
Toby E (br) wrote: ~Yeah.. its THAT bad.
Edith N (ca) wrote: Seen Through Many Eyes, Watched in Many Lands In one of the most epic point-missings, I have ever seen, someone on IMDB says that there will be more movies made about the events of September 11, 2001, than about World War II and Vietnam combined. For one, I suspect this person really mean "American" movies, as a lot of not-American countries are far more likely to make films about events which, in many places, actually took place in their countries. Indeed, several of the film's stories include reminders of other events overshadowed in the American mind. Indeed, I could list quite a few, well, dates which will live in infamy which almost certainly will not. Just to throw out an example, I used to babysit for a woman who knew my birthday was on the fifth of December, because it was the day before Pearl Harbor, and everyone knows Pearl Harbor is on the sixth. Obviously, she only gets half credit for this answer, and it's the wrong half. Ask Americans what day the Battle of Gettysburg started. Ask what actually happened on the Fourth of July. The American memory is short, and there are fewer stories to be told of that day. There are eleven stories told. The first is a group of Afghan refugee children in Iran who cannot keep the minute of silence their teacher is trying to make them observe. Next, a deaf woman is writing a letter telling her boyfriend, a tour guide, that she is leaving him. A director is haunted by an American killed in a suicide bombing--and the suicide bomber. A woman is mourning her dead, as she does the eleventh of every month. A group of young boys are hoping to catch Osama bin Laden and claim the reward so they can help their village. A Chilean man writes about what happened on another September eleventh, this time with the collusion of the American government. The Towers, and the people in them, fall. A reporter is taken off the air from reporting a suicide bombing in Israel so that news can be aired about the suicide bombing in New York. A mother must hold fast against accusations that her son was a terrorist. (This one, horribly, based on a true story.) An old man mourns his wife in the shadow of the Towers. A man survives Hiroshima only to lose his mind. Iran. France. Egypt. Bosnia-Herzegovina. Burkina Faso. The United Kingdom. Mexico. Israel. India. The United States. Japan. More stories from more countries could be told, and certainly it could be argued that one or two of them ought to have been replaced. (I like Ernest Borgnine, and I like Sean Penn's directing, but they belonged in a different movie.) The stories from France, Mexico, India, and the US all took place in Manhattan; the one from Egypt had a scene at Arlington. However, what the movie begins to touch on is something most Americans don't consider--the events of September 11 touched other countries, too. The refugee camp opens the film, and it seems little of the children's comprehension problems have to do with understanding the concept of New York. To them, a major event is that two men fell down a deep well--though one girl also mentions an aunt who has been stoned for adultery. Indeed, it feels as though all of us that day shared that sense of incomprehension. Maybe especially the people who were in Manhattan, or at the Pentagon, or in that field in Pennsylvania. Both the angry Chilean man and the frustrated Israeli newscaster remind us, however, that our stories are not new, and our suffering is not unique. Perhaps the method of striking was new, but on another Tuesday in 1973, a coup put a vicious thug in power in Chile, and the US helped. Lives were destroyed--almost certainly, more lives were lost. The quality of the deposed leader is almost irrelevant; certainly it was to the State Department. The point was that he was a dirty, dirty commie. The narrator of the segment is speaking personally of how his own life was destroyed. The Israeli newscaster recites other things which have happened in other years on the eleventh of September, and she doesn't mention Chile, either. The Bosnian women still have their loved ones to mourn. Indeed, those boys in Africa--and, yes, that's where Burkina Faso is, and, no, spell check didn't even know there was such a place--want the $25 million dollars for things like one boy's sick mother. They speak with disdain of the way their fathers would waste it on their own pleasures, because there's AIDS to fight. It is also worth noting that the bombing in the Israeli city has a specific emergency plan followed afterward, and the Egyptian segment tries to get us to understand why anyone would do it in the first place. Which, I will note, probably leads in to the thing which really got to Roger. He says that no one condemns the terrorists. And it's true that at least one segment tries to show us that things are not so black and white. Only one segment really even mentions anyone with any responsibility for the event, and it's those boys in Burkina Faso. That poor woman in the Indian segment must come to terms with the fact that her son is believed to be a terrorist because he was a Muslim of Pakistani birth (and how surprising for the Indian segment to focus on a Pakistani!) who went missing. (It turns out, of course, that he was killed using the medical training he had and the police badge he was no longer entitled to on the scene.) However, I have to say that no condemnation could be more powerful than the segment by Alejandro Gonzlez Irritu, best known for [i]Amores Perros[/i]. He did not, you see, write a story, even to tell a real one. All his imagery and all his audio come from the day, and it ends with that horrifying sound of falling buildings. The film would have been better arranged had it ended there.
Ryan H (au) wrote: Linklater and Bogosian are a match made in heaven. I don't know what it is about Gen-X films, but I love them. This is the best role I have seen Giovanni Ribisi in so far. He plays a guy that is so relatable, but it's clear none of us wants to be him. Yet, in many ways, I am still him. I sit around and talk about the problems in the world and the changes I want to see made, but I'm not really doing anything about them. And when I hear someone has made it, jealousy seeps in. The difference is I notice the jealousy and turn it around and I try to be happy for them. One of my favorite scenes is when Jeff listens to the song "Invisible People" by Pony and asks what the hell Pony is. Pony is clueless. But Jeff says if he is one of the invisible people in the crowd, then Pony is singing about something he doesn't understand. Pony says he is an artist and he has a voice expressing his ideas. Well, Jeff has his own thoughts and ideas and he communicates them all the time. But Pony just says he is an artist. If a tree falls in the forest and no one is around to hear it, does it make a noise? Sooze wants to be a performance artist one day because she is afraid that she won't make a noise, but Jeff says everyone makes a noise. They tell thoughts to each other, they make a noise. They can be a tall standing tree, they don't have to fall. Sooze is pissed and just says Jeff likes to argue, where he simply replies "no I don't!" This pretty much defines generation x. They were a bunch of people in their 20s in the 90s who were smart and could do things, but were more interested in telling each other their ideas rather than actually making a difference. Bogosian and Linklater are Pony in this film. They were a part of these people, except they wanted to get their voice out there. SubUrbia is talky and happens in a single day, like most of Linklater's early films, but he can create these characters that we can connect with so it feels like it just flies by. Parker Posey was so good as Pony's agent who is in Burnsfield to see what it was like for him to grow up. She's heard a lot about his friends and his hometown, now she gets to witness everything. He has been writing so much about it in his songs, she wants to see what shaped him as a singer/songwriter. Of course, there is a sort of smugness to Pony at first, but we can tell he has good intentions. The person who left town and comes back to see his slacker buddies who got stuck behind reminded me of the way Garden State did it. It's not bad for Garden State, but it's just realistic. I've seen it, and it's pretty accurate. "We should do something together" "Yeah, totally." Tim is an alcoholic who we can see is trouble right away. He is racist. He hates the man who owns the Circle A just because he is not white or was born in America. He thinks he is a true American. However, later in the film he tells Erica that he was in the airforce, but cut off his own finger to get honorable discharge and even gets paid monthly for it. But here is a man who came to America and is working and getting an education, but he is bad for America? I hated Tim. I know Tim. Then you have Buff who just goes around and drinks and has a good time. He's really not interested in anyone's problems or wants to get involved. He just does what he wants to do, which is mostly shallow. He wants to drink, smoke, and have sex (mostly sex if he could get it). The comedy is mixed in perfectly with the drama. The characters talk in a way only Bogosian can write. **SPOILERS**I watched a movie recently (can't remember which one) but they said if a gun is seen in the first half of a movie then it will be shot in the second half. Well, they were sort of right. Tim goes to jail for standing outside the Circle A drunk and comes back with a gun to settle his score. He says police don't care about Nazeer and neither does he. Jeff tries to show how Nazeer is a human being with feelings just like everyone else, well so does Linklater by having his wife come out and see Nazeer holding a gun and she takes off her wedding ring then throws it at him. Tim shoots the gun in the air, but doesn't actually shoot anyone. Instead, he finds the rehab girl's body on the roof. He blames Nazeer even though he had nothing to do with it. The ending is perfect: Nazeer goes back in to call the police, but before he leaves he asks what the hell these kids are doing wasting their lives. It's a brilliant film that could compete for the best Gen-X film with Kicking and Screaming.
Cristian L (us) wrote: Whereas Superman was the launch of the comic book movie genre, a genre bigger than ever in today's age, Super Mario Bros was the launch of the video game movie genre, a genre that with very rare exceptions, always lead to letting an audience down.
Tyler A (au) wrote: classic 80s me movie
Jeffrey Y (nl) wrote: Surprising good movie. Some cheesy parts but the main characters were excellent, thoroughly drawn, and engaging.
Jacob D (au) wrote: great animation with a fantastic story and great characters and the best laika has done up to boxtrolls.
Lauree K (au) wrote: The official reviewer got the ending wrong. Verden doesn't set the fire intentionally, and Christopher left with Rowena at Verden's request, before the flames even started. What makes the ending cool is Verden's necrophilia and his determination to murder Ligeia's cat. The scene of man versus cat is hilarious.
Lena L (br) wrote: was ok.love the actors in it.
JJ J (us) wrote: Lots of shooting, lots of dying,
Jerry H (de) wrote: They should be making more family movies like this.