Oru Kal Oru Kannadi
Oru Kal Oru Kannadi is an upcoming Indian Tamil-language comedy film written and directed by M. Rajesh. It stars producer Udhayanidhi Stalin, in his acting debut, Hansika Motwani and Santhanam in the lead roles, whilst featuring Harris Jayaraj's music and K.Balasubramaniam's cinematography. The film, named after Yuvan Shankar Raja's hit song from Rajesh's debut film Siva Manasula Sakthi (2009), Still some of the Scenes are filming. It is currently in production stage and planned for release by the end of 2011.
- Stars:Udhayanidhi Stalin, Hansika Motwani, Santhanam, Jangiri Madhumitha, Saranya Ponvannan, Sayaji Shinde, Azhagam Perumal, Mahanadhi Shankar, Swaminathan, Uma Pathmanabhan, Aarya, Sneha, Andrea Jeremiah, Dinesh,
- Director:M. Rajesh,
- Writer:M. Rajesh
A young boy tries to impress a young girl hardly and he too succeeds in it. But there lies the twist, because of a single phone call. . You can read more in Google, Youtube, Wiki
Oru Kal Oru Kannadi torrent reviews
(ca) wrote: En film frn 2008, som helt gtt mig frbi. En fin historia med skna karaktrer. Rekommenderas!
(jp) wrote: LOVE the 7 UP series.
(de) wrote: Errr... think I'll pass.
(us) wrote: Pretty bad movie. The plot has a handful of good ideas that are drowned in clichs and formulaic storytelling, with some solid humor overpowered by cheap one-liners and stereotypes, does feature some stylish direction and good performances you can count on one hand, specifically Vaughn, Benjamin and Johnson, resulting in a lackluster sequel that repeats too much from the first film in a poor manner.
(kr) wrote: Director Jia Zhang Ke dissects the nature of adolescence and exclusion in a China undergoing rapid political and economic change. He focuses on the lives of young people in his hometown of Fenyang, in Shanxi Province, China. Made on a low budget and without official sanction, this is a rapidly shot, underground production.In "Unknown Pleasures" we follow the chaotic boredom of two young men trying to establish relationships and fill the hours. Xiao Ji and Bin Bin are of the 1980's generation in China, the era of the single-child policy and the national attempt at demographic engineering. Jia blends the loneliness and isolation of the only child with the chaotic loss of identity and role which resulted from failed economic planning.Xiao Ji and Bin Bin are stranded in Fenyang, a dead-end, industrially decaying dump. They have no work, no money, no prospects, no future. When they should be growing, embracing the maturity and responsibility of adulthood - or at least enjoying the irresponsibility and rebellion of teenage - they seem trapped in an utterly sterile environment, weighed down by their own burden of hopelessness.Jia does not follow a Western narrative tradition - he admires Bresson, whose naturalistic techniques embraced silence and the real sounds of the everyday world. So Jia shoots silences, long passages of inaction between his actors. He argues that life does not follow a script; none of us knows what the next person will say or what our range of responses might be. So he shoots the burden and indecision of silence.Jia emphasises that boredom and isolation are a way of life. The two lads occupy a world which is dowdy and derelict, but there are constant messages on the TV to remind them of the outside world and its glamorous presence - encouragement to buy lottery tickets, propaganda about the success of China's Olympic bid, dire warnings of US imperialism ... and Mongolian King holding rehearsals for acts to perform as part of its advertising programme, selling alcohol.The Mongolian King sequences prefigure Jia's film, "Platform", where young people perform as part of the State's propaganda machine. Here, they compete to work in a capitalist propaganda vehicle. Their acts are a blend of traditional Chinese influence and a pastiche of Western, teenage pop culture.These are the ultimate consumers - they can be persuaded to buy into anything, but their everyday life is a litany of consuming relationships, of making demands of the people around them. They live to consume, but have no apparent understanding of what constitutes happiness. Life is a mechanistic round of boredom, invigorated not by pursuit of pleasure, but by a desire to escape ennui, to find temporary diversion.There is no culture, only convention and the lure of notoriety through its rejection, only the pursuit of individuality and identity by becoming something else, someone else, a different person ... the same as others. When the two boys conceive of a robbery to solve their problems, they cannot imagine its consequences, only the gangster image they must present. Hollywood might romanticise and glamorise the criminal - the film makes references to 'Pulp Fiction' - but the reality is dowdy, inept, and self-defeating.Jia constantly returns to images of performance in his films - images of people putting on acts, singing, dancing. Simply being is too complex and demanding a state - people have to perform to be noticed and valued, they have to portray roles and identities which others can admire, or at least enjoy. But many of Jia's performers are shambling and inept.Jia Zhang Ke is an enigmatic filmmaker. The hand held camerawork, the low budget production, the long silences and naturalistic use of sound, the efforts to capture the burden of time and lack of identity experienced by his characters - all make his films slow paced and often confusing in structure. They are not specifically entertaining within a context of conventional narrative filmmaking.But Jia is making potent statements about people and their observation. His films deliver a political commentary on China, but they also offer insights into adolescence and the exclusion of young people from their own culture and the way the vacuum of their life is filled by imported images of glamour. They consume the illusion of style, they consume relationships and one another, but struggle to find an identity which is both coherent and self-fulfilling. They end up acting out performances which, rather than elevating them to significance, simply emphasise their inconsequence."Unknown Pleasures" is packaged in the UK with another film, "Xiao Wu" - I would recommend pursuing this option. These are interesting films which have attracted much critical acclaim and which deserve to be viewed by a wider audience. Be prepared to concentrate, however. These are not performances into which you can intrude, casually.
(us) wrote: I found it was overacted, it tended to drag often, and it seemed far longet than it's 90 minute length. It is a western version of King Lear. Heavy handed direction. Some good production values for a made for television production.
(au) wrote: The last movie Russell made that could really excite. One of the best modern war films.
(de) wrote: They tried to recreate the magic of Pretty Woman once again, but no success this time. If taken within that context, this movie is even sadder, because, both Roberts and Gere are just weighed down by terrible material in here.
(ca) wrote: This is the best Spanish-language film I have ever seen. Yerma's story - her obsession and her mental breakdown - is acted brilliantly and told beautifully. This movie really touched a nerve.
(ca) wrote: Class of 1999 is quite underated, campy silly violent sci-fi action that entertains with a surprisingly very original concept. Though the characters were a little dull, it was still fun to watch.
(gb) wrote: Life is a gamble, but the thing worth fighting for is family.
(nl) wrote: Another film from the OTC Halloween Throwdown from 2014, and something I'd actually seen before. The middling grade is based on how much fun you can have poking fun at this one, because it's a largely terrible film, but a ton of fun when viewed in the 'so bad it's good' category.Rental!
(fr) wrote: 60/100. Fair John Ford war movie, some of the art direction is excellent, but there is really nothing special about the film. James Cagney is good as always, but he isn't very memorable, nor is the film. It lacks period detail and has an abominably poor performance from Robert Wagner. Good score though.
(us) wrote: I love all of Shirley Timple movies.
(us) wrote: Scary as hell, but kinda boring.
(jp) wrote: lead character is a badass woman, what's not to love!