Arriving in Mumbai with just a backpack and a guitar, Raunaq Kaul hooks up with Surinder Bhan, who introduces him to Charlie, the owner of 'Charlie Tango' nightclub. This is where Raunaq makes his start and achieves phenomenal success as a composer virtually overnight. He quickly regresses to a life of illicit drugs, including Charas, Cocaine, Ganja, smoking, and alcohol. Unable to perform, he goes for a medical check-up with Dr. Manu Rishi Kaul, and is told that he has lost his hearing in the right ear, while the left one is only partly functional. In order to avoid deafness, he must avoid loud music as well as try and keep off drugs, alcohol and smoking, and wear a hearing-aid. Unable to focus on his work, he alienates himself, gets into an argument, which results in an accident - taking away his hearing altogether. Depressed, refusing to communicate with anyone, he prepares a padded sound-proof room with hopes of recovering his hearing...
Bruce P (mx) wrote: I am a father with four daughters. The older I get the more I cry...tears of joy. This movie rained with joy!
Ralph K (au) wrote: I'm not a movie critic, I'm a movie consumer, and this movie made me throw up. I was pretty sure Billy Zane was a casualty of the Hollywood drug culture. I'm sad to report I was mistaken. There is nothing redeeming about this film. The moral of this film doesn't actually come from the story, but the "art": some folks have a lot more money than sense.Do NOT let your wife talk you into this because of the other reviews, you will both be sorry.
Cathy C (de) wrote: I didn't know this movie was in theatres in November???
Chiisai A (mx) wrote: love this story~ :D
Clair O (ca) wrote: A cute family film. We liked it.
Notorious TIA (ru) wrote: This movie was better then I thought it would be
Hobie P (ca) wrote: Not as entertaining as it could have been but the thriller fans wont complain.
Hollis O (kr) wrote: Unconvincingly over the top from time to time, but most definitely quirky and entertaining. Quality camerawork makes it all extra enjoyable.
Jed D (ca) wrote: A fairly decent film.
Joe G (it) wrote: Pretty good movie, keeping in mind in has an 80's backdrop. The cycling and the general story was good though for anyone to like, especially if you're a Costner fan. Caught this on Netflix online.
Michelle T (kr) wrote: Love this movie. Funny, romantic, great songs.
Allan C (ru) wrote: Certainly one the the weaker submarine movies I've seen, but worth watching for the novelty of seeing Ron and Nancy together onscreen.
Paul D (ca) wrote: Towards slapstick in approach it full of silliness throughout. The two leads offer some interest value and work well enough together but this is not a classic.
Scott R (au) wrote: A critical look at insane asylums at the turn of the 16th century in the form of a compelling story involving the gentry, Quakers, entertainers and the insane.
John C (fr) wrote: Some funny gags in the mix, but it's most notable for Groucho's rendition of his signature song, "Lydia the Tattooed Lady".
Julio G (au) wrote: gret music u can relly sing along to, needs a sing along version lol
Kip H (ru) wrote: Ryan Adams requests, in the appropriately-titled "Tennessee Sucks," for "something blue to put us out of our way/'Cause Tennessee sucks in the summer." Roll credits on "That Evening Sun," an adaptation of a William Gay short story directed by Scott Teems and starring Hal Holbrook. The film insists upon a slow, deliberate pace throughout, highlighted by an understated score teeming with the sounds of Tennessee in the summer (13-year cicadas notwithstanding). This is a Southern movie-it's hard not to read into the land ownership conflict between Abner Meecham (Holbrook) and Lonzo Choat (Ray McKinnon). But there's something more to this story. It isn't a pure generational-conflict film, like say a "Gran Torino," but that element is certainly present. It's also not a story of redemption, or of good triumphing over evil. Because there is really no good or evil here. Audiences swaying their allegiance to Meecham immediately for being displaced by a boozing, wife-beating deadbeat who even "walks like white trash" (in the words of Meecham) will be discouraged by some of the revelations of the second half of the film.This is really where Holbrook shines. He can at once make the audience believe that his claim to his family's farm is legitimate, and that his intentions for sticking around in the tenant cabin are just. At the same time, we can't completely dismiss his lawyer son's (played more-than-competently by Walter Goggins of "Justified" and "The Shield" fame) admission that his father was mean and ill-tempered with him, and with his wife. Whether as a consequence of the source material (I admit, I haven't read the short-story yet) or of Teems' directorial decision, some sympathy is introduced back into Meecham's character in the final act of the film, but this sympathy is immediately undermined by what amounts to be an apparent plot to win his farm back through drastic measures. Throughout all of these developments, Holbrook never allows us to believe that Meecham isn't simply human, reacting to a world that he cannot completely control anymore, no matter how much he'd like to. Meecham's stubbornness, like the Romantic vision of the Confederate soldier fighting for "state's rights" rather than to preserve the pernicious continuation of slavery, becomes his most endearing quality, and Holbrook comes through in spades portraying this flawed protagonist on-screen.The subsequent performances are nothing to really write home about. Barry Corbin does an amusing turn as neighbor Thurl Chessor, similar in age and temperament to Meecham and thus providing another mouthpiece against the coming tide of modernism in the rural South. When Thurl admonishes to Abner that he should be proud of his son getting out of town and making something of himself, Abner tells us, "I am proud of him. There's a difference between leaving home and forgetting the place exists, though." Teems never lets the audience forget the beauty and majesty of the place Meecham seems to be protecting. The soundtrack and visuals all play into a Romanticized version of the rural South that persists even as the credits roll. You don't have to be from the South or have lived there for a time to appreciate the film, but it sure doesn't hurt.For all that it does well, "That Evening Sun" ends without resolution. I'm sure that's part of Teems' point, and certainly is a component of the post-modern short story Gay wrote ten years ago, but it doesn't allow the film to really come to any sort of cogent conclusion. The audience is left with several characters we're not sure what to do with, and the dramatic action of the final thirty minutes of the film remains somehow detached from the rest of the film. Its implications are never fully explored. This may work in the shorts Teems directed before this feature-length debut, but it leaves this reviewer with the conclusion that Teems and Holbrook tell a very interesting story, but don't really take it anywhere.
Alec B (ag) wrote: Its a weird movie that exists somewhere between a parody of westerns and a loving homage to them. It is nice to be reminded of a time when someone (in this case Lee Marvin) could win a Best Actor Oscar for such a goofy performance.