Employed with 'We Care Rehabilitation Centre' for the mentally challenged, wealthy Dr. Sonali Sanyal decides to take four patients, methodical Mukherjee; patriotic Gangadhar; Daboo who does not converse; and Raja, who has anger management issues, for an outing in her vehicle. Shortly thereafter hilarious chaos and panic will result at the Centre after the Police telephone them that Sonali is missing and may have been abducted by her four patients. To add to the chaos, her husband, Ravi, publicly announces a reward of 5 Crore Rupees - resulting in the involvement of assorted characters who undertake to locate her in order to claim this reward.
- Stars:Juhi Chawla, Irrfan Khan, Arshad Warsi, Rajpal Yadav, Suresh Menon, Dia Mirza, Rajat Kapoor, Kamal Adib, Vicky Ahuja, Parth Akerkar, Tejas Are, Anil Bahl, Krishna Bansal, Jennifer Mistry Bansiwal, Dolly Bindra,
- Director:Jaideep Sen,
- Writer:Ashwani Dhir (screenplay), Rakesh Roshan (story)
4 mental patients formulate the plan to rescue their kidnapped doctor and teach the kidnappers a lesson. . You can read more in Google, Youtube, Wiki
Krazzy 4 torrent reviews
(nl) wrote: Strangely amusing in patches, with the two characters both clashing and being perfectly in unison at times. I enjoyed Goldblum's cameo, but there is little else aside to keep the audience entertained. They do not make the most of the Parisian landscape, or add real depth to the script.
(de) wrote: sweet and awesome film!
(br) wrote: Well-made documentary featuring some great 70's music - amongst other things. Certainly entertaining, but warningly graphic in nature. You won't find this on imdb but Mark Cuban was one of the executive producers.
(ag) wrote: Too long really. Some good ideas about the way modern business applies survival of the fittest approaches and linking it to the Nazis even if it's far-fetched and maybe a stretch. That's a lot like most of the film really. One moment it's really dragged you in (I loved the nightclub sequence) and the next you're waiting for the film to move on.It's that waiting that erodes the good points of the film. If this had been half an hour shorter I wouldn't have had time to drift out of the film and wander off somewhere else in my mind whilst I waited for it to move on. The two ex-Bond villains give good accounts and they're both quite watchable on-screen. It's not enough though to make this worth going back to watch again.
(nl) wrote: Stuart is trying to take over the titles of The Dean from Sylvester. In order to win the title he has to win a poker game against the best. He thinks he has the Dean right where he wants him when teh Dean pulls a trick and wins the game and over $100,000. What the others in the room don't know is that it was all set up. The Dean was looking to retire but didn't want to lose before settling down with Melanie and her resturant. The day after the card game Sylvester gives Stuart his share of the winnings and the title of Dean should he want it.
(jp) wrote: The only reason I liked this movie is because Tom Green is an idiot the entire movie
(ca) wrote: Even for a xmas movie, this is pretty poor. Ben Affleck is really hammy in this, but I guess it's not really his fault as the script is just unbelievable (and not in a good way!). Who would seriously believe that a yuppie guy with a beautiful apartment would pay some random family to pretend to be his over xmas because they happen to live in the house he grew up in? And along the way he falls in love with his pretend "sister" who hates his guts (Christina Applegate - main reason I even bothered).It has a few small moments that are mildly amusing, but far and few between. I guess the xmas lights in it are pretty. Lol. What else can you say about it...
(us) wrote: Very, very good image.
(ru) wrote: Among Akira Kurosawa's most untouchable and majestic masterpiece, along with Rashomon and Seven Samurai. In this picture we follow Capt. Arseniev and his men on a journey through to an unknow and uncivilized territorys for reconnaissance and explore the Ussuri region. One night, the group hear some noises from the threes, and an old Nanai hunter named Dersu Uzala who's first being laugh at by the other soldiers for his loosey russian, but is after time more respected and everybody is looking up to him as a saint, because of his survival skills. He became close friend with Capt. Arseniev. This is based on true events. Dersu Uzala is a beautiful picture about the journey through the unknown and merciless mother nature, where the tigers still was the king of the sibirian forrest. There's also this suberb cinematography, the beautiful shot of a horizon with a red sun and a blue moon in the same shot. A movie you don't want to miss.
(de) wrote: Vittorio De Sica is Italian neo-realism. This work here stands tall with his other classics. Sophia Loren gives an honest and unflinching performance as a mother struggling to shelter her daughter from the horrors of war. The pain they experience is so honest and real, you can't help but become involved.
(gb) wrote: A animated film from Not-Pixar
(us) wrote: Putting a team of legendary veteran actors together under the direction of Clint Eastwood, Space Cowboys sounded like a well-acted feature of an unspecified genre.Bringing back the legacy of Clint Eastwood's Unforgiven (1992), Space Cowboys works to be another film about the difficulties of age in a contemporary world. Though it maintains many western elements and what is essentially a gang of sheriffs, the genre is a new one for the legendary director as it takes him into space this time. There is definitely a feeling of nostalgia that comes from seeing a gang of legendary actors collaborate, and much of the time that's enough to transcend the predictabilities of the film.Space Cowboys follows a very familiar narrative. Adhering heavily to its genre conventions, Space Cowboys offers a collection of character archetypes to keep it on the ground with predictable disaster-themed plot points when it reaches space. And the structure of Space Cowboys is as conventional as the story. In tune with the standard storytelling procedure for disaster movies, Space Cowboys focuses mainly on creating a situation and building up its characters before launching them into it. It's the same narrative style used in films such as Armageddon (1998) and The Core (2003), though far less shallow. Clint Eastwood makes a genuine attempt to put strong characters into Space Cowboys, and he is mostly effective at doing so which lives up to the talents of the cast members in the role. But at the same time, it also means that viewers have to incur a lot of waiting before take-off. The launch for the mission doesn't actually occur until 75 minutes into the story, and though Clint Eastwood works hard to keep viewers engaged during this time it is clear that less-patient viewers will find the slow pace to be a frustration. Since Space Cowboys makes an active effort to be less of a blockbuster and more of a character piece, the slow pace of the film is maintained when its gets close to its disaster-fuelled climax where there is a greater focus on the political turmoil of the situation and the characters involved than on creating some kind of explosive finale. There are still thrills to be had; Space Cowboys just doesn't forsake the narrative to capture it all.It's very admirable that his film diverts disaster film conventions into being a more character oriented piece. Clint Eastwood's passion for the material is great because he keeps things stylish and atmospheric while ensuring that the full extent of the Kaufman-Klauser screenplay is captured. The dialogue is rich and gives viewers an understanding of the science behind the mission which isn't too simplistic or complicated, while there is also a lot of interesting character conflict to keep things intriguing. This predominantly comes from the relationship shared by Colonel Francis D. "Frank" Corvin and Colonel William "Hawk" Hawkins which gives an edge to the film during its waiting time. Since these characters are played by two legendary actors who have proven talented in the field of Western filmmaking, the hook is even greater. And once the film finally reaches space, the full extent of its technical values are embraced. The visual effects are incredibly impressive, capturing the glory of being in space by giving viewers the perspective of someone drifting slowly through the skies and admiring the natural beauty of the earth from a perspective beyond what most humans are capable of. The glory in all this is not exploited for meagre action value, rather it is embraced to give viewers an insight into the mindset of the characters' experiences. Space Cowboys makes a strong use of both production design and dedicated visuals which makes for a brilliant visionary experience. Everything is captured with strong cinematography, and the sound editing and musical score breathes greater atmosphere into everything.Disaster films often have ensemble casts as a means of mildly captivating the audiences, but Space Cowboys ensures that its actors actually dedicate themselves to giving strong performances.Clint Eastwood delivers a strong leading effort. Capturing exactly what you could have expected or hoped for, Clint Eastwood brings back his naturally gruff persona for Space Cowboys without having to pick up a gun this time. Though he maintains small elements of a man with age such as a sense of intelligence that only comes with time, he remains a strong and even intimidating screen presence as times due to his ability to create raw tension in any situation he deems appropriate. Clint Eastwood has lost none of his charismatic acting skills, and Space Cowboys reminds us of that with simple brilliance.Tommy Lee Jones makes an equal stand. Devoted fans of his should rejoice at seeing him go up against the likes of Clint Eastwood because his charisma propels him to delivering an effort of equal strength. The two battle each other to be the most engaging screen presence through the use of their pre-established character types. Tommy Lee Jones' is a strong and likable man with a flair for sporadic sarcasm, and he uses this to challenge Clint Eastwood in many scenes that prove to be some of the most entertaining of the film. The two really go at it, and Tommy Lee Jones does his part to ensure that an equal balance of depth is established on both sides of the relationship between Frank and Hawk. Tommy Lee Jones is one of the best elements of Space Cowboys.Though James Garner and Donald Sutherland are both extremely talented actors, there is a distinctive feeling that their roles are reduced to make way for Clint Eastwood and Tommy Lee Jones which leaves them in rather diminutive parts. There is no denying that their charms are an asset, particularly Donald Sutherland's undying friendly charisma, but with a legacy like theirs it should be capitalized on more.Marcia Gay Harden also delivers a notable supporting effort. Though lacking the same legacy as her surrounding actors, Marcia Gay Harden is an extremely talented actor who went on to win the Academy Award for Best Supporting Actress for Pollock (2000), the same year Space Cowboys was released. Her role requires her to capture the scientific language of the film and some moments of real emotional stress, and she does both with flawless confidence. Never pushing it into melodramatic territory, Marcia Gay Harden remains focused on her goals in the role of Sara Holland and manages to deliver an incredibly dedicated supporting effort which stands out even amid a crowd of legends.Space Cowboys follows a conventional structure without offering any innovation in how it is structured, but Clint Eastwood's firm direction brings out the best of the screenplay and the cast while making it a valuable visual experience.
(br) wrote: Just saw "To Save A Life", reminded me of being a teenager and learning about drunkenness, marijuana, suicide, abortion. pre-marital sex, and wondering if that kid who died made it to heaven. A good Christian movie with a couple heart-wrenching scenes, I recommend it for anyone 13+. It makes you wonder if we're too busy with materialism and pleasure and don't take our faith seriously enough.