Sunil is a collegian and comes from an upper class family. His parents want him to marry the girl of their choice, but he rebels, and refuses to do so. He wants to marry beautiful fellow ... . You can read more in Google, Youtube, Wiki
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Pyaar Diwana torrent reviews
James J (ag) wrote: Lame attempt at creative grindhouse schlock. How lame is it? A brutal rape scene is almost comical. How the hell do you turn a violent attack like that and make light of it? Even in a comedy, it's a line you don't cross. It's like a 9/11 window-washing joke or something horribly offensive. If you are really bored one night, are out of Doritos and beer and your girlfriend/boyfriend just dumped you, then watch this film. Then after you watch it maybe you'll be motivated to go buy beer and Doritos or find a new boyfriend/girlfriend rather than watch this POS on a Friday night.
Tim M (au) wrote: 30 years after the manga Sukeban Deka began, the third live-action film is released. As shojo (female minors), I presume it's awesome. But, as a seinen (18+male), I don't identify with it much. The opening credits are awesome and the story starts out strong. Later Takeuchi's limp and the cheesy dialog/situations make for a disappointing middle. The climax and resolution are decent, in sharp contrast to the second half-hour. I was hoping for more Yo-yo and action. Instead, much of the running time is wasted on fleshing out the razor-thin plot.
Felipe F (us) wrote: Sarah Polleys piercing script and Julie Christies spellbinding fully commited performance makes Away From Her an extremely humanistic, insightful and moving film about love, loyalty and abnegation in the face of the obstacles of life.
Timeen (de) wrote: Thought this was going to be better than it was.......the story was kind of empty
Jake A (au) wrote: This gritty and grounded crime thriller comes very close to being up there with the best from the 70's. Roy Scheider holds it all together at this central character, the action is realistic with one of the most thrilling car chases from the era, the plot holds your attention, the score is solid and although it doesn't add all that much that is new to the genres it is embedded in it is still an engrossing and thoroughly well made film from the era that spawned many classics.
Aaron C (ca) wrote: One of the greatest Godzilla movies ever! Almost as good as the original.
RC K (it) wrote: Apparently unintentionally giving myself some kind of theme of renowned classic horror producers (well, well-known ones at least...) I've now dabbled in the work of William Castle, a man known less for making quality films out of low budgets than for using an endless string of strange gimmicks and threats to the audience about the film's unbelieveable levels of horror and fright. Mr. Sardonicus is actually one not originally intended to suffer this gimmickry, but ended up doing so anyway thanks to studio interference.The film opens with Castle himself introducing the audience to the film and its concept. He tells us the dictionary definition of a ghoul, smoking a cigar and trying to "prepare" us for the fright we are about to see. "Mr." Sardonicus, really Baron Sardonicus (Guy Rolfe), is a wealthy recluse in eastern Europe who has married the childhood sweetheart--Maude (Audrey Dalton)--of Sir Robert Cargrave (Ronald Lewis), a knighted British doctor of medicine. Sir Robert receives a letter from Maude begging him for help that may save her life. Sir Robert interrupts his experiments with techniques to revive the muscles of the paralyzed to go to her and the Baron, and there he meets Krull* (Oskar Homolka, credited as Oscar), servant of Baron Sardonicus, a one-eyed man with a strong accent who, when asked to "do a thing, [he does] the thing." Soon we meet Sardonicus himself, in great part at least, for he is masked constantly, until we learn the story of his mask, and see for the first time what lies underneath it. Obviously strongly inspired (or perhaps just a massive coincidence, but really now...) by the makeup worn by Conrad Veidt in The Man Who Laughs (though with a far less sympathetic disfigured titular character), the face Sardonicus bears is actually pretty disturbing. I think Castle would have been better served by keeping it back under wraps after the first revelation, or at least showing a little less, but it was by no means something where seams showed the more we saw of it. Some have (ignorantly) criticized the work because it's so "obviously" a mask when Sardonicus speaks and his mouth doesn't move. Unfortunately for those people (perhaps they're deaf, or don't speak English, or just weren't paying attention...) the movie actually DOES explain this, and says that Sardonicus uses "latent muscles" to speak, which do not involve the use of the mouth (which he freely admits he cannot move).Regardless, this is actually a lot better as a film than I expected from Castle. It has been my experience that his films were known purely for the gimmicks and never for anything beyond that, and usually HAD nothing beyond that. Of course two were later remade (The House on Haunted Hill and Thirteen Ghosts) and were thus not gimmick-driven, and in my relative navet at the time, I thought this was further proof of that (i.e., "Let's make them into movies that DON'T rely on gimmicks!"). Of course, in retrospect, it was simply more easy cash-ins on existing scripts and concepts that made cranking out horror easier than they usually try to make it on a studio level (which is already sickeningly disrespectful and half-hearted most, if not all, of the time) and a foreshadowing of the glut of effects-driven, usually awful remakes that followed--and continue to the day I'm writing this.However, Rolfe and Lewis are actually quite good in their roles, and the strange, leering, unquestioning servitude of Homolka is quite effective. The supporting cast is not a pile of logs, either, though there's a little twitchiness on the "reading from a cue card" meter, but overall very little, and certainly less than I expected. Overall, a pleasing viewing, I must say, and one I can't say I particularly regret. I'm not sure if it will lead me to more of Castle's films (hmmm...) but I have no real bad news about this one, and that was a happy surprise.*No relation to the strange, cheesy 80s fantasy movie. I think, at least.
Jenn M (ru) wrote: Omg this was just dreadful on so many levels, I couldn't even finish it
Dann M (fr) wrote: While it's a little generic, Into the Blue is an entertaining and sexy crime thriller. The story follows an aspiring treasure hunter and his friends who discover a possible shipwreck near a crashed plane full of drugs on the sea bed, and must work secretly to uncover the ship's location before others get to it first or the drug cartel comes looking for their lost plane. Starring Paul Walker, Jessica Alba, Ashley Scott, and Scott Caan, the film has a good cast. But the characters are poorly written and the plot is really convoluted. Still, there are some nice action sequences and the underwater scenes are beautifully shot. It's gratuitous and silly, but Into the Blue is also kind of fun.
Heather J (au) wrote: Disturbing as its based on a truth.
Jake C (ca) wrote: The production design and camera work screamed Terry Gilliam. For me that is certainly a good thing. Gilliam's distinct style is still refreshing after over three decades of making feature length films. This may speak to the staleness of voices in cinema but it's hard to chastise studios for not taking chances on films with a unique voice after the less then lukewarm reception The Zero Theorem (2013) received in America. I couldn't help but think of Cloud Atlas (2012) as I watched The Zero Theorem (2012) but not because of similarities the films share. After sharing the genre of science fiction the similarities end for the two films. The reason Cloud Atlas (2012) kept coming to mind was because of the tepid reception that film received as well. Both are science fiction films with epic and detailed production design and high minded ideas and themes. Despite the huge success of lighter science fiction films like Guardians of the Galaxy (2014) and Star Wars (1977) hard science fiction is stagnant. J.J. Abrams re-boot of Star Trek (2009) is a great example of this paradigm. By taking much of the "Star Trek" out of Star Trek and adding more adventure elements he made the franchise more palatable to a wider audience. The Big Bang Theory Principle is in effect or the Inverse Simpsons' principle. People feel smart when they watch dumb shows about smart people. The Simpsons will take seemingly dumb ideas and make intelligent points while the Big Bang Theory take smart concepts like physics and use them as plot points for stale sitcom high jinks. Even though some of the CGI was obvious it didn't detract from the film because the CGI was still detailed and interesting to look at. Zero Theorem has plenty of Brazil (1985) DNA and I am certainly not the first one to mention this. In many ways The Zero Theorem (2013) is not just commenting on our culture or its direction but Z.T. is taking the social/political ideas of Brazil and expanding on those ideas with metaphysical/theological themes. The paradox of this film is its very blunt and loud with its message and themes and at the same time ambiguous. The production design is similar in this way. The future created is something we have seen before but because of the attention to detail there is so much to absorb from the costuming to props in the background. If your goal is to see a thought provoking film, with a great cast, and fine craftsmanship Terry Gilliam's The Zero Theorem (2013) is the film for you. Sadly my previous sentence sends many movie goers running for the hills and I can't blame them. When you have the stress and aggravation of kids, debt, etc. it's nice to switch of your brain and watch Sly Stallone and his band of expendables blow up a small village in Eastern Europe. I am confident that Z.T. will find a new lease on life on DVD with high school and college students on hallucinogens.
Alexandre B (de) wrote: Un loooong build up menant une finale prenante. 2h de "drame d'espionnage", 30 minutes de combat tactique dans le noir, un film bien ficel.