In the history of Bangla Cinema, TOOFAN is THE BEST commercial cinema.
The lead actors - Shakib Khan & Chanchal Chowdhury, the heroins - Mimi & Nabila and all of the supporting actors were just perfect at thier acting and dialogue delivery.
BGM - Background Music is the heart of the movie. No movie has released yet with such a perfect and thrilling BGM.
Story, Screenplay, Dialogue, Choreography, Make-up, Costumes and Art direction were Top Notch.
Music - Each and every songs placed rightly and the songs are melodious and rhythmic as well.
Some excellent moments : NO SPOILERS :::
1. Shanto is going to make the first deal and the changes gradually he brings in his character, the walking, the smile, the body gesture... just awsome.
3. The Last Scene after the last song... Really brings goosebumps.
4. THE GENUINE ROYAL BENGAL TIGER.
The Arrogance, The Style, The Anger, The Don, The Walking, The Eyes, The Acting of SHAKIB KHAN proves that He is the indisputable, one and only hero with the Charisma.
Regarding COPY Movie... NOT AT ALL. No movie been copied.
But, some songs steps, some looks, some BGM etc. are inspired willingly from some actors style and music from their recent movies and its just for entertainment of the viewers and it is showing in a way that people can relate and enjoy.
In conclusion, I would like to say, please watch TOOFAN at big screen and feel that how far can the Bangla Cinema go and we can be at the top of the worldwide box office chart very soon if we can regularly make movies like TOOFAN.
Prabhas' latest film, "Kalki," is nothing short of a cinematic marvel that transcends the boundaries of conventional storytelling. This epic saga, directed by the visionary filmmaker Nag Ashwin, masterfully blends mythology, action, and drama to create a mesmerizing experience for audiences.
From the moment the film begins, it captivates with its stunning visuals and intricate set designs, transporting viewers into a world where ancient legends and modern aesthetics seamlessly converge. The attention to detail in the production design is commendable, showcasing the meticulous efforts of the entire creative team.
Prabhas, in the titular role of Kalki, delivers a performance that is both powerful and nuanced. His portrayal of the mythological hero is imbued with a sense of grandeur and gravitas that makes every scene he is in truly unforgettable. The physical transformation he underwent for the role is remarkable, adding a layer of authenticity to his character.
The supporting cast, including leading lady Deepika Padukone, also shines brightly. Deepika’s portrayal of her character brings depth and emotional resonance to the narrative, providing a perfect counterbalance to Prabhas' intensity. The chemistry between the two leads is palpable and adds a layer of romantic allure to the epic tale.
The screenplay of "Kalki" is another standout element, weaving together complex themes of good versus evil, destiny, and redemption. The dialogues are both profound and poetic, reflecting the film's mythological roots while remaining accessible to contemporary audiences.
One cannot overlook the film’s breathtaking action sequences, choreographed with precision and flair. These scenes are not just visually spectacular but also integral to the storytelling, enhancing the overall impact of the narrative. The use of cutting-edge visual effects further elevates the film, making the mythical elements come alive on screen.
The musical score by A. R. Rahman is nothing short of a masterpiece. His compositions perfectly complement the film's tone, enhancing the emotional and dramatic beats of the story. Each track resonates with the audience, leaving a lasting impression long after the credits roll.
In conclusion, "Kalki" is an extraordinary film that showcases the best of Indian cinema. It is a testament to the talent and dedication of everyone involved in its creation, from the cast and crew to the production team. Prabhas has once again proven why he is one of the most revered actors in the industry, delivering a performance that will be remembered for years to come. "Kalki" is not just a movie; it is an experience that should not be missed.
Prabhas' latest film, "Kalki," is nothing short of a cinematic marvel that transcends the boundaries of conventional storytelling. This epic saga, directed by the visionary filmmaker Nag Ashwin, masterfully blends mythology, action, and drama to create a mesmerizing experience for audiences.
From the moment the film begins, it captivates with its stunning visuals and intricate set designs, transporting viewers into a world where ancient legends and modern aesthetics seamlessly converge. The attention to detail in the production design is commendable, showcasing the meticulous efforts of the entire creative team.
Gosling plays seasoned stunt maestro Colt Seavers utterly unafraid of any physical challenges, self-effacingly doubling for insufferably conceited star Tom Ryder (Aaron Taylor-Johnson), who outrageously claims to do all his own stunts. Colt is having a passionate affair with beautiful, talented camera operator Jody Moreno (Blunt), but when he is involved in a catastrophic and career-ending failed stunt, he is overwhelmed with macho shame, thinking the accident was his fault because his infatuation with Jody made him take his eye off the ball.
Colt self-pityingly disappears from view during physical rehab and cuts off all contact with Jody, who is deeply hurt. But then hard-faced producer Gail (Hannah Waddingham) persuades him to come back to work on Jody’s first film as a director, a sci-fi epic starring Ryder as a space cowboy doing an awful sub-Matthew-McConaughey Texas accent. Gail claims that Jody herself wanted him – but she and the unspeakable Ryder have their own wicked plans in mind.
Once the premise is established in the first quarter of an hour, the rest of the film is devoted to a long and essentially plotless extravaganza of crashes, bangs, jumps, punches and PAEs (Pointless Action Explosions). It’s a movie whose own stunts – and the fact that stunt doubles are needed – lend a kind of metatextual frisson to this story, although the script does allude to the brave new AI world in which deepfakes can also be used to make it look as though the star is doing the dangerous stuff for real. Location footage over the final credit roll makes it glancingly clear that a number of actual stuntmen were needed, but falls short of giving these unsung heroes actual named-star status.
Gosling and Blunt have a nice rapport: there is a sweet and apparently improvised moment when Jody’s hat blows off in the wind from helicopter blades in the middle of a dialogue scene and she has to get it back in place. But this is more about the “bang bang” than the “kiss kiss”. The biggest laugh comes from a line about Johnny Depp and Amber Heard, and we could have done with a few more decent gags. A solid serving of popcorn entertainment.
Here, drones have painted the sky, shoddy VFX keeps transitioning between ‘Silver City’ and ‘Gareebon ki Basti', a place where technology has reached new heights but people are still dying over food crisis.
Stories about the rich getting richer and the poor getting poorer are not new, but what makes you root for the hero every single time is the legendary, larger-than-life treatment of the character. Sadly, ‘Ganapath’ falls flat at all levels in doing justice to the heroism of its lead character.
In this world, Ganapath aka Guddu (Tiger Shroff) is the messiah of the poor who is unaware of his destiny in the first half of the film. Upon learning about his identity, the playboy and flamboyant Guddu transforms into Ganapath, the hero to his people.
In his fight, he finds love and a partner in Jassie (Kriti Sanon), who is trained in martial arts and is capable of knocking off a group of strong men. In this fight to save their people from getting assaulted and exploited by the rich, controlled by Dalini (whose identity has not yet been revealed), who is sort of a Voldemort of this world, we are reminded - ‘Ganapath Aala Re’.
However, the adrenaline rush one expects to feel with this transformation never really comes to fruition. Adding to the fury is the shoddy VFX, which really makes the experience unbearable in certain scenes. Especially, after watching films like ‘Jawan’, ‘Pathaan’ and ‘KGF’, which have been high on post-production, settling for anything less doesn’t seem right.
The characters feel like caricatures and the performances by the lead and supporting cast don’t match up either. Tiger Shroff is great with action sequences, as always, but fails to evoke an emotional chord as Guddu/Ganapath.
Kriti Sanon is wasted with her limited role as Jassie. For a stellar performer like Sanon, it is almost a disservice to reduce her to a few action sequences and romantic numbers. Kriti performs the action sequences like a pro, but the cinematography seems flat while capturing those visuals.
Amitabh Bachchan’s voice and cameo is the only decent performance you will be watching onscreen in ‘Ganapath’. The background score seems like a ‘sasti’ copy of several sounds we have heard before. Songs are forgettable. However, Tiger’s sleek dance moves make you wonder if the entire film was made to only highlight his super fit body, because damn, he is fluid.
Moving on, the romantic track between Ganapath and Jassie is as soulless as the film. The villain is comical, leaving no scope for any redemption in the story.
Some of the bizarre moments of the film include Tiger going from speaking in typical ‘tapori’ lingo to English, Jassie falling in love with Ganapath almost immediately after their first meeting, or the actor breaking into a dance number in the middle of a conflict situation. The list continues.
‘Ganapath’ offers absolutely no respite. If you expect it to get better in the second half, as Gen Z are often heard saying ‘you are in delulu’.
The star cast deserved better. Kriti deserved better. The 'Mad Max' franchise deserved a better tribute, perhaps!
If Bollywood's perfectionist decided to go bald for his latest, Tollywood's badshah matched up the Ghajini gossip with a Lalu crop. If Aamir Khan is showing off his newlyacquired eight-packs, Prosenjit Chatterjee's Govinda-like comic capers in Rajkumar are attracting the housefull bug at single screens.
When Swapan Saha has the Rajkumar as the crowd puller, all other characters are reduced to mere props in the film. And with Saha's penchant for fight sequences, at the drop of a hat, the bloodshed, scheming, murder and politics start off pretty early.
Surjo Kanta Roy, is an affluent businessman who ties the knot with Mamata (Laboni) to care for his son, Rudra, born of his first marriage. Rudra, who grows up to be Abhishek harbours only hatred for his stepmom and stepsister Sumi (Swarnakamal). Incidentally, Mamata had a son, who grows up to be Rajkumar (Prosenjit). Mamata had denied Raj's existence to Surjo Kanta before marriage but as luck would have it, SurjoKanta, comes to know of it and also accepts him. With his own blood vying for a piece of his flesh and a large chunk of his property, Surjo Kanta makes a will where he has mentioned that after his death, his wealth will be looked after by Rajkumar for a certain period. After Surjo Kanta is killed, Rajkumar, the Class II qualified and owner of a cowshed comes to tame the unruly members of the Roy clan. After a series of Saridon popping sequences, Prosenjit's husky deliveries and Rajnikant like action, the climax is reached and Rajkumar's work is finally through.
And with that you reach the end of your three-hour torture session on Christmas. If the script wasn't painful enough, forgettable music by Ashok Bhadra executed by poor choreography makes you harp, 'What bada wrong have I done to deserve such punishment on bada din?' As Santa chooses to take a no comment stance on that, it's upto you to make up your minds - do you want to usher in the New Year with this bodo diner boro chhobi?
The story of Krishnamma happens entirely in Vijayawada, which is on the banks of the Krishna river, hence the title. Bhadra (Satyadev), Shiva (Krishnateja) and Koti (Meesala Lakshman) are orphans and inseparable friends from childhood. Their only desire is to have a family of their own. Bhadra and Koti lead a life of petty crimes. Shiva runs a printing press and urges his friends to lead a normal life. When Shiva falls in love with Meena (Athira Raj) and they decide to marry, it gives the trio a chance at a family finally. They look to mend their ways and lead a normal life. A sudden health emergency forces them to look for funds and they invariably turn to crime again for some quick bucks. Their smuggling operation fails and they are caught by the police. The friends decide to confess to the crime. But the police book them for a rape and murder case instead of smuggling. Who is the victim of the heinous crime and what happens to the friends forms the rest of the story.
The story takes time to pick up. It gains momentum only after the major twist happens. The second half moves at a quick pace with enough emotionally charged scenes.
Satyadev worked hard to bring authenticity to the happenings on screen. Athira Raj impresses in her debut performance. Archana had a brief role. Meesala Lakshman and Raghu Kunche also deliver the goods. Debutant writer-director VV Gopalakrishna takes an old story and works hard to bring in rustic authenticity. He succeeds only partly.
Krishnamma has its moments, but it is nothing we haven’t seen on the Telugu screen. It may appeal to viewers who like rural, small-town emotional dramas.
The lead pair make a brilliant double act, but the franchise has run out of its signature sweetness and charm
he cuddly kung fu master is back. Jack Black returns as dumpling-loving panda Po, the unlikeliest of lean, mean fightin’ machines. It’s been eight years since Kung Fu Panda 3, and on the evidence here, the delay can’t be put down to KFP4 being a labour of love, the product of animation studio DreamWorks’ A team pouring in enormous amounts of effort. It’s a hurricane of slapstick (some of it in fact very funny) and age-appropriate energetic fight scenes, but lacks the sweetness and charm of the franchise at its best. It failed the wriggle test on my seven-year-old cinema date, who was squirming in her seat around the hour mark.
The plot is a bit overfussy for its target audience of small kids, though the scriptwriters have been careful to make it work for newbies – no previous Kung Fu Panda experience necessary. It opens with Po being promoted from his role as Dragon Warrior to spiritual leader of the valley, taking over from his mentor Shifu (Dustin Hoffman – no expense has been spared on the vocal cast). But before he can appoint his successor, Po apprehends Zhen (Awkwafina), a streetwise thieving fox. The two of them make a brilliant double act: Black is adorable, Awkwafina terrific as the cynical wisecracker.
Zhen warns Po about a dangerous new villain, the sorceress Chameleon (Viola Davis), who turns out to be pretty unmemorable as far as the franchise’s baddies go (not a patch on Ian McShane or Gary Oldman in the earlier movies). The two biggest giggles in the cinema came from the grownups: first, in a hilarious scene involving bulls in a china shop; then some wry chuckling when Po tries to meditate – his thoughts quickly straying to his tummy: “Inner peace … inner peace … dinner please … dinner with peas.” But the seven-year-old shrugged and said, half heartedly: “The panda is … fun.”
Kids may have fun with Aquaman and the Lost Kingdom’s crude humor, bright visuals, and cutaways from Momoa shouting profanity. Everyone else though will likely shrug it off as the cloying cartoon it is.
You get what's promised: a well produced movie centered on the struggle between a princess with a strong sense of honor and the dragon to whom she was to be sacrificed.
The timing and pace of the story is well balanced. A straight forward simple plot, basic dialogue, and surface-level only character development in keeping with the kind of fairy tale stories it is based with a little twist on the old tales in that the princess finds her own strength and makes her own choices.
Locations, sets, costuming and CGI were all well done and everyone delivered solid performances.
It's not "Reign of Fire", more like a "Snow White", so don't overthink it or expect anything groundbreaking and just watch an entertaining movie.