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Sun TV Bags The Satellite Rights Of Sivakarthikeyan Starrer 24AM Studios’ Production No. 4

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24AM Studios is exceptionally cheerful and eager to declare its initially real relationship with SUN arrange, the monster in the business, for quite a long time. This first affiliation clears path for an effective and cutting edge organization. 24AM Studios is having some fantastic luck with its creation no.4 reserving in Sivakarthikeyan, Ponram, Imman, Soori, Balasubramaniem and Yugabharathi in its next wander. The group is anticipating claim a cap trap.

Delivered by RD Raja’s 24AM Studios, the film is yet to be titled. It went on floors on sixteenth June 2017 pointing a mid year 2018 discharge. The distinction and loftiness starts with the fundamental cast itself, Sivakarthikeyan, Samantha, Soori, Nepoleon, Simran and Lal. The specialized group is similarly control pressed with India’s top of the line generation fashioner Muthuraj, India’s most looked for after trick choreographer Anal Arasu and the VFX administrator Kamala Kannan of Baahubali 2 acclaim, being reserved in for the film.

Much the same as its past preparations, 24AM Studios is good to go for a gigantic and mammoth creation investigating every possibility to display a visual glory and a healthy bundle of excitement. An intriguing certainty is that inside the principal week of shooting Sun TV, has purchased the satellite rights to the new creation no.4. This current group’s prosperity recipe incorporates an unforeseen and surprising USP like dependably. The group of onlookers can wager on the diversion remainder with respect to who might score superior to the others in the group.

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‘2.0’ to release on November 29

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Mumbai,  Actors Rajinikanth and Akshay Kumar starrer “2.0” will hit the screens on November 29.

Akshay, who is essaying the prime antagonist in the film as an eccentric scientist named Richard, on Wednesday tweeted: “Get ready for the ultimate clash, ‘2.0’ on November 29, 2018!”

Director Shankar Shanmugham tweeted: “Hi everyone. At last the vfx companies promised the final delivery date of the vfx shots. The movie will release on November 29, 2018. ‘2.0’.”

“2.0” will mark the Tamil debut of Akshay and his first film with Rajinikanth. The film also stars Adil Hussain and Sudhanshu Pandey. It is a sequel to the 2010 blockbuster Enthiran (Robot) which also featured Aishwarya Rai Bachchan.

Rajinikanth returns as scientist Vaseegaran. “2.0” also has Amy Jackson in a supporting role. The music is by Oscar-winning composer A.R. Rahman.

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Prabhudheva starts shooting for his next

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Prabhudheva starts shooting for his next

Chennai, June 11 Choreographer-actor-filmmaker Prabhudheva has started shooting for his next yet untitled film in which he will sport a police uniform for the first time.

Prabhudheva starts shooting for his next

“Prabhudheva in khaki. Shooting starts today. Really looking forward to this,” Prabhudheva tweeted on Monday.

The film is directed by AC Mugil, a former associate of the “Mercury” actor in his directorial ventures “Pokkiri” and “Villu”.

Prabhudheva starts shooting for his next
Other details related to the film are still under wraps.

Prabhudheva will also be seen in the Tamil film “Charlie Chaplin 2” along with actress Adah Sharma. He also has “Yung Mung Sung”, “Gulebhakavali” and “Khamoshi” in his kitty.

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‘Kaala’: Realistic guide to dirty side of slum redevelopment (PrimeTime Review, Rating: ***)

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kaala

Film: “Kaala”; Director: Pa.Ranjith; Cast: Rajinikanth, Huma Qureshi, Easwari Rao, Nana Patekar, Pankaj Tripathi and Anjali Patil; Rating: ***

kaala

Pa. Ranjith’s “Kaala”, showcased in Hindi, Tamil and Telugu, is a captivating socio-drama. It is a family-friendly tale with all the trappings of a South Indian fare. It is a superhero film of a different variety.

The film begins on a weak, unimpressive note that represents comic book graphics, but soon, it builds the momentum that is expected of a Rajinikanth film. It is a pot-boiler packed with Rajinikanth antics, albeit in diminishing proportion.

Nevertheless, it would appeal not only to his ardent fans and sceptical viewers, but also to every “urban-poor” living in the slums of the city.

A fiction, set in Dharavi — Asia’s largest slum in Mumbai — the film cheerfully exposes the anguish of the “urban-poor” migrants living in the slums of the city.

It is their struggle against the land grabbers who are trying to exploit them in the garb of government schemes and city redevelopment.

The film is uncomfortable but convincing, illuminating the inconvenient sides of the development.

Haridada (Nana Patekar), a goon who has been elevated to the post of a Union Minister, along with his cronies is hell-bent on usurping Dharavi. With the help of his supporter Vishubhai (Sampath Raj) he tries to evacuate the people from there. How, Karikaalan (Rajinikanth) aka Kaala, a migrant from Tirunelveli, becomes a spike in Haridada’s plans, forms the crux of the tale.

The narrative keeps you hooked – wondering how far Kaala will go or how he will get out of his troubles.

The plot has its graph chalked to perfection, despite major edit jump-cuts. There is never a moment that drags. The dialogues are peppy with the right amount of humour, emotions and melodrama.

With age, Rajinikanth has mellowed, he plays his age and perfectly portrays the comical aspects of a petty gangster with all pride but no substance.

His action scenes definitely seem laboured. But fortunately for him since the director focused his energies on the tale and not on him, he was spared the embarrassment of performance.

kaala

Nana Patekar as the uncompromising and ambitious Haridada stands tall as he matches Rajinikanth in stature and demeanour. But then, this is not his story about his bumpy quest for more power and money.

Huma Qureshi as Zarina, the head of an NGO interested in uplifting the slum, Easwari Rao as Kaala’s wife Selvi, Anjali Patil as Charumati aka Toofani as an aggressive resident of the area and the girlfriend of Kaala’s son Lenin, are earnest.

The trio balance the gender scale with each one of them having their moments of on-screen glory.

Mounted with grand production values, the set showcasing Dharavi appears to be a synthetic and antiseptic place.

It is difficult to identify with it, minus the squalor.

The music that accompanies the action sequences is loud and adrenaline inducing. The songs, especially the rap numbers along with the hip-hop dance, mesh well into the narrative.

Overall, the film with the title which is used as a double entendre, is entertaining as a realistic guide to the dirty side of slum redevelopment.

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