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Nivedhyam torrent reviews

Wiebke K (es) wrote: Rather terrible and predictable leave earth to save mankind movie.

Tor M (ag) wrote: Robbie, that's just became a dad is trying to avoid jail for a violent episode a time back.He get's a second chance as he also get some better friends and get into the whisky business after visiting a distillery. They come across some very rare drops and Robbie, his good nose and his new friends are up for adventures.Filled with humor, passion, change and drama this rather complex comedy has a bit of everything. It's not easy to tell what it's about as it can be stripped down into much. This is both a strenght and a little burden. This is solid but it covers a whole lot - maybe a bit much. The fact that it's not "perfect" is a big positive feature. The actors have some spoken errors, some bad footwork or other minor mishaps - but that's life, eh?I liked it even if I lost the first 10 minutes or so. Ken Loach is a great director, but I have not seen too many of his films. It's sad that I didn't see it with subs. Scottish can be tricky to hang on too - so at times I was rather lost.7 out of 10 whisky barrels.

Andrew D (mx) wrote: Opening well, the movie stirs memories of the original East Is East. However once we move to Pakistan, the film takes an altogether different tone, and is sadly lacking the brilliance of its predecessor.The culture clash which gave the first movie its core subject matter is quickly brushed under the carpet, as Sajid all too swiftly acclimatises to his new surroundings. Whats left is all the emotion, with too little to break it up.George goes back to his first wife, swiftly followed by Ella, and what follows is a collision of worlds in which more is left unsaid, eventually winding its way to an unsatisfying conclusion.Hopefully George doesn't have any relatives in London, because on this form we do not want to be subjected to North is North!

Joe A (mx) wrote: Steve Barker's effective sequel to his creepy 2008 horror Outpost, that told of a group of mercenaries sent to an old WWII bunker which hosted Nazi experiments to create an army of undead super soldiers. Sequel picks up where the original left off with the newly resurrected Nazi soldiers beginning to spread through Eastern Europe while a special forces team and two civilians try to locate and destroy the machine that empowers the living dead army before a last resort nuclear strike.

Arundhati S (kr) wrote: Good movie. Paresh Rawal and Kay Kay Menon at their usual best.

Jason Q (mx) wrote: Oh my god! I cant believe how bad it was, I feel like sewing to get my time back that I wasted on this movie. I actually feel like I lost brain cells. I am a huge fan of the dead series and this movie is nothing more than an insult to the better real living dead movies.

Private U (it) wrote: Te ne peux pas trouver une histoire aussi bidon mais trop hilarant ce film grace a notre gad elmaleh national !!!

Miguel R (it) wrote: Men in Black II is a disappointing sequel to an already great sci-fi film

Tim W (gb) wrote: Not as good as i thought it would be. Couple humourous bits, but mostly just tasteless and forgettable, like a National Lampoons movie.

Tim S (nl) wrote: When my friends recommended this movie to me, I expected something a little different than what I got. Not that I was disappointed at all, this movie is probably one of the more original films I have seen in a long time. I loved the monologues and enjoyed the performances (Elliot Gould is amazing and it's a damn shame that some only know him as Monica's dad from Friends). The climax is a little out there, but I didn't mind it because I thought it fit with the rest of the film. The only problem I had was the performance of Alan Arkin who I thought was just annoying. Overall, very enjoyable and nice to see something out of the ordinary.

Robert B (ca) wrote: Alias Nick Beal (John Farrow, 1949) While Aussie director John Farrow was nominated for Best Director for is 1942 war picture Wake Island, and worked steadily in Hollywood from the mid-thirties until his death in 1963, his career didn't really send him into the A-list until the mid-fifties, when he started directing a trail of hits that began with the John Wayne vehicle Hondo. (He picked up his only Oscar win during the salad days-for co-writing the 1957 script for Around the World in Eighty Days.) Many of the films he made before that time are, to be charitable, obscure. I've been trying to track down a copy of Little Miss Thoroughbred for years without success. I've managed to come up with a few of the others, though, and one of them is Alias Nick Beal, an interesting, if smarmy, post-war Faust. The good doctor, in this case, is actually a district attorney, Joseph Foster (the great Thomas Mitchell, from such classics as High Noon and It's a Wonderful Life), with ambitions towards less, shall we say, hands-on political roles. Mephistopheles takes the form of one Nick Beal (The Lost Weekend's Ray Milland, who'd teamed with Farrow the year before in The Big Clock). Beal offers Mitchell the documents he needs to put a criminal behind bars forever, with one small caveat: there's no way they can be gotten at legally. He'll have to sacrifice some of that moral uprightness for the cause. Mitchell, who believes the ends justify the means, agrees, and we begin down the road we expect: Beal gets Mitchell farther and farther into dutch, until Mitchell finally realizes what (or whom) he's dealing with and has to decide: power or his soul? That the ending of this film is pretty much sewn up before the first frame is no reason not to watch it. The journey is often more interesting than the destination, when it comes to movies. But what makes variations on this theme such as The Devil and Daniel Webster interesting is that they are variations. Alias Nick Beal plays it as straight as the line between Thomas Mitchell's eyes and Audrey Totter's splendid cleavage. Farrow had the right idea-take Faust and make it into a piece of noir-but he neglected to note a couple of the defining features of noir, which are decidedly incompatible with the story as written (and as presented here). For example, what was the last noir film you saw that had a completely happy ending? Go on, I'll wait. Still thinking? Of course you are, because that movie doesn't exist. The downbeat ending is one of the defining features of noir, as much as the sultry, low-voiced dame (Totter, in fact, in quite a few cases) and the square-jawed sap who suddenly realizes the jaws of life's trap are about to close on him through no real agency of his own. Here's the problem: it is Joseph Foster who brings about his own downfall, as well as being the agent who almost singlehandedly engineers the ending of the film. Foster is an empowered hero, not a noir type at all. Not to say this is a bad film. In fact, there is much to like about it, and the majority of that comes from the acting. Mitchell, Milland, Totter (as the woman Beal sets up to try and lure Foster away from his wife, played by the indomitable Geraldine Wall), George MacReady, that's a principal cast you can't argue with, and they all do a very good job. If only they'd had better source material to do it with, Farrow's salad days may have come four years sooner than they actually did. ** 1/2

Dan S (it) wrote: A decent conversion of a Hitchcock classic to modern-day America. The leads are passable, the story is very predictable however, with an ending that ruins its one shot of suspense big time. It's still a pretty good movie for teens and the like to watch, since the two lead stars are obviously attractive and their relationship strengthens as the film goes on. It's a typical standard thriller, but it has enough humor and the use of technology is used very well, so it's probably worth a view.

Alexander C (us) wrote: Looks interesting will try to find and watch!