Rajeev Menon (Mohanlal) is a wealthy orphan, a spoilt rich brat who grew up to be an eccentric millionaire. While his trusty manager (Karamana Janardhanan Nair)takes care of his vast ... . You can read more in Google, Youtube, Wiki
This is one of the cult classic film of Mohanlal. A. K. Lohithadas won Kerala Film Critics Award for Best Script Writer. The movie is partly adapted from the Korean movie The Surrogate Woman.
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Mark C (au) wrote: yawn, I saw the second half. It was barely okay. But not interesting enough to recommend or watch the beginning. If you are really into the cast then it may be worth the watch for an average movie but if not I'd say skip it.
Robert B (ca) wrote: The Graveyard (Michael Feifer, 2006)There are many, many valid questions you could be asking youself in the course of watching this silly attempt at making a horror film. But the one that kept popping up for me was this: if there's a big hole in your graveyard's iron fence, with huge spikes bent in, upon which a teenager was killed, don't you think that five years after that death, someone would have fixed the hole, if only for liability insurance reasons? If that sort of illogical plot device drives youup the wall, I suggest you stay far, far away from this turkey. On the other hand, for a stupid direct-to-DVD horror flick, it's... actually not half bad. Well, okay, except for the bad parts. But you know what I mean.Plot: as we open, a bunch of drunk high school kids are playing a game in a graveyard. (Note: if I recall correctly, "drunk" is just an assumption based on "no high school kids you have ever seen in a movie are that uncoordinated".) Something goes horribly wrong, leading to one of them dying. Fast-forward five years to the present day, and the survivors-Jack (Leif Lillehaugen in his only feature appearance to date), Allie (Boo's Trish Coren), Sarah (Buried Alive's Erin Lokitz), Charlie (Month to Month's Christopher Stewart), Michelle (Mr. Woodcock's Lindsay Ballew), and Bobby (Zodiac's Patrick Scott Lewis), who has just been paroled from prison after his role in the death of Eric (Glee's Mark Salling)-converge, with various significant others, as well as Peter Bishop (Markus Potter, from the upcoming An American in Hollywood), the caretaker, at an off-season summer camp in order to try and gain some closure. All well and good until a slasher starts taking people out one by one. Naturally, Bobby is everyone's main suspect, but as time goes on and the body count rises, the would-be therapy group starts to wonder if it's not, in fact, Eric's ghost come back to claim revenge on his erstwhile buddies.There are more plot holes in this movie than it is possible to recount here (although oddly, every "plot hole" pointed out in the IMDB threads I've read was the result of someone not paying attention enough to have put certain pieces of the script together; I grant you, that could well be because screenwriter Michael Hurst, who has also been responsible for such timeless classics as Mansquito, is incompetent), Feifer is a somewhat lackadaisical director, the acting is, to be nice, horrific. So why am I rating this movie as high as I am? (And this is after revising it downward half a star while writing this review.) It's all relative; I saw a number of movies far worse than this within a week on either side of watching this monstrosity. The Graveyard > 100 Tears, therefore it must get a higher rating, right? But don't let that deceive you. Aside from a bit of prurient interest (which makes sense, given that I just read that the studio behind this film usually does softcore), there's nothing here worth your time unless you are the world's most hardcore Glee completist. * 1/2
Jamie B (au) wrote: Some funny bit, worth a watch if you ever see it on TV
Trent R (es) wrote: Shot in Namibia along the Skeleton Coast during the death throes of Apartheid, Dust Devil is a challenging cross-genre mix of sociopolitical critique and perhaps at times too personal exploration of shamanic mythology and consciousness. After having seen a shorter cut on import a few years ago, my curiosity was raised when this five disc box set came out with a 108 minute version and supplemental material. Labeled as a serial killer film, it is more about characters fatalistically seeking one another out for transcendence from mortality, memory and corporeality. Stanley's father was a Communist under Apartheid who took the young director on the drive-in theatre circuit across South Africa, Namibia, Botswana and Zimbabwe. This clearly made a strong impression on him, as Dust Devil contains an existential mix of European arthouse cinema, (particularly Postwar French auteurs and Tarkovsky) and the Spaghetti Westerns of Leone. His anthropologist mother studied local myths and oral traditions of the Khoisan Bushmen of the Namibian interior, and the San religion's influence is evident in Dust Devil's shamanistic symbology of transcendence from the material into the spirit world. The antagonist, Hitch, is a Nagtloper/shapechanger who seeks to escape his corporeal form, tied as it is to the contemporary trappings of Western iconography, b-movie horror cliches, narrative structure and linear time. Stanley attempts to convey this confict by intentionally disrupting continuity in both editing and Hitch's appearance, using copious jump cuts, and going so far in one scene as to break the frame of the projected film itself. The conflicted male protagonist is played by Zakes Mokae, a classically trained stage actor, Zulu and radical anti-Apartheid activist. Zakes fled to the US, winning a Tony on Broadway and returned for this role in Dust Devil. Interestingly, he is cast against type as a despairing and cynical South African policeman. Haunted by visions from a culture he has largely alienated himself from, he yearns to be reunited with his departed family. The female protagonist is similarly fatalistic, fleeing a failed relationship. Elements of gender critique are well realized here through Stanley's use of mythological elements, as the Nagtloper seemingly materializes as a product of her consciousness in despair. Instead of a traditional dramatic three-act structure, the plot takes a more meandering course. This also takes the form of spiral camera movement, drawing the three primary actors into a confrontation thankfully not entirely an homage to the end of Leone's Good, The Bad & The Ugly. They are all finally then grounded by different means, but the final shot leaves a satisfying degree of ambiguity open to interpretation. Dust Devil was Richard Stanley's ambitious second film - capitalizing on the relative success of 1990's Hardware, (itself soon to finally be on U.S. dvd). A remake of his earlier 16mm version of Dust Devil, it was an epically troubled production and took over twenty years to be seen in final cut. This was prior to his being fired from the similarly doomed Island of Dr. Moreau re-make. The five disc boxset includes a workprint incorporating additional footage, and a production diary which details more of the insanely troubled production. An ordeal which included the theft and eventual recovery of a distinctive prop knife, only to find it notched and clotted with blood and hair following a nearby street fight which resulted in a corpse zipped into a sleeping bag. There is also a cd of the Morricone-inflected score by Simon Boswell, following on his work with Bava & Jodorowsky. The set also contains the documentary Voice of the Moon that covers the events leading up to and right after the Soviet withdrawal from Afghanistan. This is footage of little-seen areas of Afghanistan then never on film due to the absence of electicity. They used hand-cranked Bolex cameras, hiked in while burying the shot footage as they went and excavating it on the way back out. I found much of it reminiscent in a way of Kurosawa's staggering cinematography of Manchuria in Dersu Uzala. Also included is the doc, The Secret Glory of SS Obersturmfuhrer Otto Rahn. A fascinatingly open-ended and dense account of a Romantic convinced he knew the location of the Holy Grail who fell in with the Nazi party. Like the other supplements, this provides excellent insight into the predominant symbols and ideas in Dust Devil and inspires research into related areas. I very much enjoyed this second viewing and found the supplements insightful about the film itself and it's broader context. Stanley seems drawn to regions of ancient unrest, and well able to convey that on screen. Ultimately, Dust Devil may have had too great of ambitions for the time and conditions of its production. This is combined with some symbolism and context too personal for the casual viewer to engage with. But it is fascinating nonetheless, and I look forward to seeing Stanley's future work that is now in pre-production. Hopefully, this will not be a matter of decades in the making.
Simon W (es) wrote: Think its the one i like - though it might have been ski school - and there might be about fifty one's with the same names. Anyway, if it is this one then its cool - silly stuff but it works.
Kevin S (es) wrote: Paul Conway is a scientific wiz kid who moved into a new town with his mother. He created a robot named BeeBee who is his protector and friend. He befriends neighbor Sam who has an abusive father and He also has another very mean lady for a neighbor named Elvira. While trying to play a trick on Elvira she destroys BeeBee. And not to long after that Sams abusive father throws her down the stairs and at the hospital she has a brain hemmorage and is practically brain dead. They pull the plug on her and now Sam is dead. Paul decides to steal her and puts BeeBees microchip on her brain bringing Sam back to life. But things aren't as they seem as Sam gets out of control. As a fan of Wes Cravens work it doesn't surprise me how good this movie is. I liked this movie alot. Sure it's sort of cheesy but it is the sort of movie you gotta expect out of Wes Craven. It's kinda like an eighties version of Frankenstein.and it's neat because he makes it seem like the normal people are the bad ones not the reincarnated Sam. Ann Ramsey ( throw mamma from the train, Goonies ) who you just got to respect as an actress played Elvira. She is great at playing that very mean character as she has done before. Cheesy? Kinda, but still the kind of fun horror movies we have come to know from Wes Craven.
Greg K (de) wrote: Oddly cutting Edge. The explosions, the plane special effects. The topic of a revolution untested in cinema for its time. Pushed the limits back then and is interesting in that respect.
Gary T (au) wrote: Show's rual England at it' s most nostalgic best, no movie list should be without an Ealing comedy.