Shreyas discovers the magic of love and friendship in college days; only to be perplexed with the choices to be made.

Shreyas discovers the magic of love and friendship in college days; only to be perplexed with the choices to be made. . You can read more in Google, Youtube, Wiki


Duniyadari torrent reviews

Eliabeth H (ru) wrote: I'd like to hear a director's commentary.

Paul N (jp) wrote: This is the first time I've started to rate/review a film before it's over. Clearly not a great sign!The reason is that 45 minutes into this film, about an alien infestation taking over human bodies, its forced plotting and generally abysmal scripting are too galling and annoying to redeem itself.Actions have no consistency and the aliens make no sense. The humans are pretty vapid as well. While an invasion film should be given some leeway, and the motivations of the invading force don't have to make be totally sensible, these aliens are just willfully annoying.The four or so scenes around the 45 min mark are just full of so much bullshit and contrivance that it is all boring and uninteresting. Being able to see the strings and the puppet master so blatantly, and poorly, removes any magic from the show.Carol (the main character played by an eager but let-down Nicole Kidman) heads to her ex-husbands house to get her son and keep him safe. Already infected her husband and the half-dozen people in his house grab her and infect her. Then, informing her that she will be converted once she falls asleep...they let her go.That's it. They just let her go. Nothing she does or says affects her situation. She just gets away. Something that could be forgiven except that in the VERY NEXT scene as she runs away more aliens chase her down. In the VERY NEXT scene, still running to a subway car, she is helpfully placed among a few normal humans who are only acting like aliens. They conveniently break their facade to explain to her how to fool the aliens. Nonetheless they are all caught except Kidman.We then follow her attempts to get to safety as she fakes having no emotions while random attacks happen in broad daylight on the street. Again, other humans posing as infected give her helpful advice. Lucky her.Finally, still the same few minutes, her regular normal doctor friends have a theory as to what is happening and are trying to get to a safe military place. Oh, and they also figure out a cure pretty quickly. That's really great. I mean, there was no way the governments of the world, or any third-rate researcher couldn't spot the simple flu vaccine solution in the first 5 minutes.It's so pathetically thrown together it just stinks of pointlessness. The film is one that, we can see so blatantly, is moving forward just because it has too. Aliens let her go, they attack in public and governments don't seem too pushed. No one is fighting back. It is beyond belief. Something that takes some doing in a sci-fi movie.These are specific issues but so large they need to be addressed. The bad editing, drab action scenes and logic holes are painful to sit through. If you aren't really aware of why things are crap you'll probably just be bored by this film ,which is just as damning. I just can't get over how useless a film this is and how let down it is by issues that should be solved in the first draft of a script. The aliens are the worst of nearly any film of this type. They move from gang attacks, taxers and murder to rational discourse, secret attacks and random attacks. All depending on what the scene needs. They just don't make any fucking sense. Absolutely unforgivable. No tension, no drama, no point. Save your 90 minutes.

Lenny R (it) wrote: Underrated. Timmy D (my fave Bond) is great. Carey Lowell (one of my fave 'girls') is great. Robert Davi is great. BDT is great. Talisa Soto is not. There are a couple of really good action scenes, particularly the speargun-waterski bit. The unique premise sets it apart, and it's actually got a pretty good screenplay, though some of the dialogue is a bit too cheesy. The relatively low production values work against it a bit too. I actually like this one more each time I watch it, or maybe just the older I get.

Antonius B (es) wrote: An avant-garde opening sequence of images, some disturbing, immediately sets the tone for this movie, as Bergman seems to say he will challenge us with 'Persona'. The story is relatively straightforward, but discerning what's reality may be a little challenging. As with many (all?) of Bergman's films, the script is fantastic, with real weight to it, and it's a cerebral film. Ostensibly, an actor (Liv Ullman) has had an existential crisis while on the stage and suddenly stops speaking. It seems to be because of her feelings of the falseness of life (and indeed, 'Persona' in Latin means 'mask'), heightened by events in the world (we see a film clip of a Buddhist monk in Vietnam who set fire to himself in protest of the war, as well as a picture of Nazis holding guns on women and children). She withdraws from her husband and young son. Doctors can find nothing wrong with her mentally or physically, and put her in the care of a young nurse (Bibi Andersson), who takes her to the seaside. Andersson has almost all of the lines in the film, talking to Ullman about her own life in quite candid terms, both about a sexual adventure she once had on the beach (which is quite graphically described!), falling in love with a married man, and her guilt over getting an abortion, but Ullman does a good job with her part, conveying a lot with just her facial expressions. As the story plays out, Andersson gets a little unhinged herself, and the two then start to mingle together, either in their thoughts and dreams or possibly in reality. In one fantastic sequence, the reason for Ullman's guilt about not easily assuming the role of motherhood is revealed, shot first with tight shots of her face as Andersson speaks, and then shown again, verbatim, with the camera on Andersson. There is a doubling here, and Bergman emphasizes it with this sequence. The movie can be interpreted in different ways which makes it interesting, but it's not so far out there that you won't take anything away from it at all; Bergman seems to get the balance right on that front. He takes us to a beautiful place - the seaside - and includes fantastic shots such as the one of Andersson looking at her reflection in a small pond, and later following Ullman down a long stretch of the shore - and yet also tells us things are not always what they seem. His ending will have you thinking, for example, whether all of this has been a dialogue within one person's mind. But even as we're unsure of 'reality', I found it empowering to women, who discuss philosophy, acknowledge their sexuality, and acknowledge what is perhaps even a bigger taboo - that assuming the role of motherhood is sometimes very difficult. And, in a larger sense, he signals that even though the world is beautiful, to exist in it can be horrifying. We're all ultimately alone, but must hold on to one another as best we can.Some quotes...On marriage:"You've taught me that we must see each other as two anxious children full of goodwill and the best of intentions but governed by forces we can only partially control."On existential crises:"You think I don't understand? The hopeless dream of being. Not seeming to be, but being. Conscious and awake at every moment. At the same time, the chasm between what you are to others and what you are to yourself. The feeling of vertigo, and the constant hunger to be unmasked once and for all. To be seen through, cut down...perhaps even annihilated. Every tone of voice a lie, every gesture a falsehood, every smile a grimace. Commit suicide? No, too nasty. One doesn't do things like that. But you can refuse to move or talk. Then at least you're not lying. You can cut yourself off, close yourself in. Then you needn't play any roles, wear any masks, make any false gestures. So you might think...but reality plays nasty tricks on you. Your hiding place isn't watertight enough. Life oozes in from all sides. You're forced to react. No one asks whether it's genuine or not, whether you're lying or telling the truth. Questions like that only matter in the theater, and hardly even there. I understand you, Elisabet."And this one, quoted from a book Andersson is reading on the beach:"All the anxiety we carry within us, all our thwarted dreams, the inexplicable cruelty, our fear of extinction, the painful insight into our earthly condition have slowly crystallized our hope for an other-worldly salvation. The tremendous cry of our faith and doubt against the darkness and the silence is the most terrifying proof of our abandonment and our terrified and unuttered knowledge."

Peter M (fr) wrote: possibly not total bollox, i'll try watch it again on a long wet sunday

Sunil G (kr) wrote: A piece of crap compared to second one. Saw it years ago but don't remember that it was this awful.

Aj V (mx) wrote: Literally about the life of a roadie, a trucker turned roadie that is, played by Meatloaf. His character is pretty stupid, and the movie is very silly at times, but it also has good cameos from rock stars like Debbie Harry and Alice Cooper, so it's pretty cool. Overall, it's good, but it could be better.

Aaron G (fr) wrote: Dreamworks' last great animated film.

Matt E (kr) wrote: If you don't like this movie, you just plain suck