Jagannathan faces several challenges when he goes to stay in Kanimangalam village. He promises the villagers that he will help in the preparations for the annual temple festival, but will his enemies leave him in peace?
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Michael R (de) wrote: self indulgent disdainful superior crap
Mad M (nl) wrote: The soundtrack was great. The last 15 minutes was good, but the rest of the movie was slow and uneffecting.
Ben D (ca) wrote: Nice scenery, weak story, seemed very western to me, or at least designed for western audiences. I'd rathe see a genuine film about the Masai.
Mono Kris A (nl) wrote: "El Crucero de las Locas" lo nico que me gust fueron las nenas q salieron porque casi no hubo comedia y el final fue muy aburridor e poco elocuente. Esper ms de esta pelcula
joey b (nl) wrote: Both Robert Deniro and Cuban Gooding JR. were excellent in this film nice example of all the stuff blacks have to go thru when serving our country
Oscar M (nl) wrote: Genial pelcula espaola... JODER!
John Y (us) wrote: A very well done film about one of the funniest yet saddest people in the history of Hollywood.
Sam G (ca) wrote: It's a very messy film, not really knowing what its plot is trying to be, but it's entertaining to watch, and there are some pretty memorable scenes.
Shaun B (ag) wrote: Wow really? REALLY? (Slams head against keyboard)I wrote a damn good writeup on this Troma beachploitation trash flick. It was DAMN GOOD, I tell ya. This internet shit has got to stop man. Not cool. Stop deleting everything I attempt to categorize here you bastards! I need to remember to never watch this movie again.TL;DR: Some (many) may say this is a bad movie, I say this is a bad movie with surfing. Cannot recommend only to those who like bad movies. With surfing.
Stephen M (es) wrote: Ok, it's not very good. It certainly isn't a patch on Funny Girl. But it has a particular place in my heart because I was a teenager when it came out and Streisand was the biggest star in America at the time. In fact, her musical theater song HOW LUCKY CAN YOU GET was played on the radio all the time and it was a big seller - that just doesn't happen. It's always pop and rock on the charts, not musical theater. And yet she was so beloved and so popular that this show tune penned by Kander and Ebb was on the charts. That's not nothing. Now, about Funny Lady. I love it. It's got great production values, amazing costumes by Bob Mackie, some very clever dialogue (also some silly dialogue about toothbrushes that only a fine actor could carry off, and no matter what you may think of her, Streisand is a fine actor). The musical numbers are peppy (and HOW LUCKY CAN YOU GET and GREAT DAY are simply glorious). Yet, the movie feels contrived and incomplete. It doesn't have the heart or the simpatico that the original had. It feels false much of the time (especailly when looking at some of Barbra's wigs). Yet there will be fans like me who love the movie, either because of Barbra or because of nostalgia or because it is glitzy and pretty. It is not, though, something that I think people will enjoy if they aren't Streisand fans. It is that specific. I think that the only people who will like this picture are Streisand fans - nobody else. Sometimes, though, not even them.
Scott R (it) wrote: It had its moments when Cagney and Dailey shared punches that were very entertaining. Of course the woman they competed for was also up to par. All in all it was fun.
Joanna B (mx) wrote: What happens when two childhood BFFs (Best Friends Forever) share a lifelong dream of each having the perfect storybook New York City Plaza Hotel June wedding are mistakenly scheduled for the same day, can they share in harmony? The answer is apparently not. This mind numbingly dull chick flick not only lacks stamina but is completely devoid of sass and attitude. Even though the concept of friend destroying friend over bride destroying groom is fresh, the idea is squandered in this strained predictable comedy by its lazy writing, miscalculated acting, bad timing and cavalier directing.Bride wars with its marginally sexist undertones tries to highlight the so called fact that all brides-to-be are materialistic, extravagant and wasteful bridezillas who will stop short of nothing to obtain that one perfect day. Obviously produced before the global economic downturn this film comes across as slightly insensitive and ill-timed. BFFs Liv (Kate Hudson, co-producer) a take-no-prisoners, my-way-or-the-highway man-eating attorney with an distressingly distracting pudding bowl fringe and Emma (Anne Hathaway) a submissively demure school teacher will little to no backbone live delightfully in there chummy ignorance.When both girls receive their little blue tiffany boxes, (well one receives and one demands) they are destined to live out their dreams of hiring exclusive wedding planner Marion St Claire (Candice Bergen) to make their fantasy June weddings come true. Luckily they went to the right person and were able to secure two separate dates, both in June at the ritzy Plaza Hotel location.With the dates booked and impending bliss only months away, Liv and Emma receive an unexpected summons from Marion where they are informed that due to a minor clerical error both bookings are now on the same day same time with no option of change. As the girls are determined to be each other's maid-of-honour a compromise on location must be met, but who will submit. Since childhood these two diametrically opposed idealistic schoolgirls have provided one another with personality balance in order to accomplish their goals. However, when faced with the prospect of one having to forfeit their perfect wedding the gloves come off and neither wants to back down.The following hour consists of an overwhelming barrage of backstabbing and sabotage. On a rampage, the girls unleash their vengeance in a shower of Junk food gift baskets, exuberant spray tanning and creative hair dying (this incident sadly is a direct rip off of Hudson's mother Goldie Hawn's first co-producing role in 1980's Private Benjamin) Leaving the girls torn, shattered and looking oddly reminiscent of an umpa-lumpa and smurf the movie turns on a more sombre note when the girls finally begin to realise that surely their friendship is worth more than one perfect day. A far cry from Hudson's notable breakout role in Almost Famous and Hathaway's forte for dramatics in Brokeback Mountain this movie leaves you wondering why either actress's would accept such meaninglessly mundane and shallow roles. The only glimpse of hope and humour injected with any calculated precision is by two strong supporting actresses, screen and stage veteran Kristen Johnston, (3rd Rock From the Sun) who plays an over bearing eccentric colleague of doormat Emma and the grossly underutilised sitcom icon Bergen. A noticeable missing element is the distinct lack of a strong male role. Delivering weak and rightly terrified boyfriends (Steve Howey and Chris Pratt) regrettably have the stage presence and personality of door knobs. The Verdict: Notwithstanding scathing reviews, Bride Wars will thrive in the usual Sex in the City style box office success. Relying heavily on repetitive Vera Wang jokes and tedious communication mishaps this movie is destined to living out is short life expectancy in the $6.98 bin in our local DVD stores. Published: The Queanbeyan AgeDate of Publication: 23/01/2009
Art S (au) wrote: Immensely satisfying, Dead Man is a masterpiece from independent maverick Jim Jarmusch, an historically accurate rendering of the American West that follows the spiritual journey of Wiliam Blake (Johnny Depp) from life to death. Not _that_ William Blake, of course, but the misperception does allow Jarmusch to quote a lot of Blake's poetry, delivered sometimes as faux Native American idioms by Gary Farmer, playing Nobody, Blake's guide on the journey. For this is really a road movie, terrain that cinematographer Robby Muller has visited before with Wim Wenders (friend and mentor to Jarmusch); his black and white footage of the serene wilderness contrasts with the stark views of the ugly white man's town of Machine - both are spectacular. Neil Young's solo guitar score is haunting, ruminative, evocative, sacred - the film would not have reached such heights without it. Most road movies are episodic, as the characters meet other players along the road and have adventures of various kinds and Dead Man is no different; Blake runs afoul of Iggy Pop, Billy Bob Thornton, & Jared Harris who might kill him and Alfred Molina who wants to sell Nobody an infected blanket. The white men are portrayed as flawed and violent here (beginning with Robert Mitchum in his final role), at least as compared to the Native Americans (who are not necessarily idealized). As Blake/Depp travels half-dying (or already dead) from urban decay through pure natural environs to the sea, I am reminded of James Mason's spiritual journey in Carol Reed's Odd Man Out (1947), as an IRA leader who is shot and eventually leaves worldly things. Mason is followed by the cops but Depp is followed by three bounty hunters who meet various untoward ends, allowing Jarmusch to employ some gallows humor. And, although the movie does have some idiosyncratic anecdotes and Jarmuschian moments, mainly it is a majestic, poetic, astonishing meditation on the rape of the land and indigenous peoples, transmuted into William Blake's experience and his writing by fire. At his point in our history, we may all be dead already.