Nabil Shams Strip Dance
Dhaka City College, Bangladesh
Most sexyest Dance ever by a boy. Sunny Leone fails before him. Watch Must.
Trailer
{[['
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']]}Welcome Back - 2015
WELCOME BACK
2015 Movie
| Directed by | Anees Bazmee |
|---|---|
| Produced by |
Firoz Nadiadwala
Arjun Kumar , Vijay Khanna & Sanjay Morakhia (Associate Producers) |
| Written by | Anees Bazmee, Rajiv Kaul & Raj Shandaliya |
| Starring | John Abraham Nana Patekar Anil Kapoor Shruti Haasan Shiney Ahuja[1] Paresh Rawal |
| Music by | Anu Malik Abhishek RayMeet Bros Anjan & Mika Singh |
| Cinematography | Kabir Lal |
| Edited by | Steven Bernard |
Production
company |
Base Industries Group
|
| Distributed by | Eros International |
Release dates
| Scheduled for
|
Running time
| 145 mins |
| Country | India |
| Language | Hindi |
| Budget | US$ 16 million |
Cast
- John Abraham as Ajju bhai/Ajay
- Shruti Hassan as Ranjhana
- Nana Patekar as Uday Shetty
- Anil Kapoor as Majnu
- Paresh Rawal as Dr. Ghunghroo
- Dimple Kapadia as Maha Rani
- Naseeruddin Shah as Wanted Bhai
- Alina Kumar as Sanjana
- Ankita Shrivastava as Rajkumari
- Surveen Chawla - special appearance in song "Tutti Bole Wedding Di"
- Shiney Ahuja as Wanted's son
Soundtrack
| No. | Title | Singer(s) | Length | |
|---|---|---|---|---|
| 1. | "Tutti Bole Wedding Di" | Meet Bros, Shipra Goyal | 04:23 | |
| 2. | "20-20" | Mamta Sharma, Anu Malik, Shadaab | 05:56 | |
| 3. | "Welcome Back (Title Track)" | Mika Singh, Geeta Jhala, Music Mg. | 04:38 | |
| 4. | "Meet Me Daily Baby" | Siddhant Madhav, Pawni A Pandey, Hyacinth Dsouza | 04:57 | |
| 5. | "Time Lagaye Kaiko" | John Abraham, Anmol Malik | 05:42 | |
| 6. | "Nas Nas Mein" | Meet Bros Anjjan, Shabab Sabri, Rani Hazarika, Deane Sequeira | 04:23 | |
| 7. | "Damaa Dam Mast Kalandar" | Mika Singh, Yo Yo Honey Singh | 04:05 | |
| 8. | "Welcome Back (Beat Mix)" | Mika Singh, Geeta Jhala, Music Mg. | 03:40 | |
| 9. | "Meet Me Daily Baby (Beat Mix)" | Harshit Saxena, Pawni A Pandey, Hyacinth Dsouza | 04:57 | |
| 10. | "Welcome Back (Theme)" | Abhishek Ray | 03:48 |
Trailer
{[['']]}
']]}Golmaal 4 - 2015
{[['']]}
']]}All is Well
All Is Well
- Director: Umesh Shukla
- Music composed by: Himesh Reshammiya, Mithoon, Amaal Mallik
Cast: Abhishek Bacchan, Asin, Rishi Kapor, Sunakshi Sinha
Trailer
{[['']]}
']]}Brothers
Brothers
- Initial release: August 14, 2015 (USA)
- Director: Karan Malhotra
- Music composed by: Ajay-Atul
STORY
The film tells the story of a broken family, set in the world of mixed martial arts and underground street fighting.
Gary Fernandes, a former alcoholic and street-fighter, returns home after serving a prison sentence of 10 long years to find that the wounds of the past still haunt his family.
His two sons, David and Monty, who had parted ways as kids, are grown men now, but are still bitterly estranged. Gary himself carries the burden of his guilt. His elder son, David is an ex-fighter turned school teacher. He and his wife Jenny work hard to make ends meet and to provide the best they can for their ailing daughter Poopoo. Troubled financial circumstances drive a desperate David to return to the world of street fighting.
While, Monty struggles with his lonely complex existence. An alcoholic, he is active in the world of street fighting, but lacks focus and determination. He strongly yearns for the acceptance, love and respect of his family. As the story unfolds, we see the journey of these three men, as they seek to find redemption and healing.Gary Fernandes, a former alcoholic and street-fighter, returns home after serving a prison sentence of 10 long years to find that the wounds of the past still haunt his family.
His two sons, David and Monty, who had parted ways as kids, are grown men now, but are still bitterly estranged. Gary himself carries the burden of his guilt. His elder son, David is an ex-fighter turned school teacher. He and his wife Jenny work hard to make ends meet and to provide the best they can for their ailing daughter Poopoo. Troubled financial circumstances drive a desperate David to return to the world of street fighting.
Meanwhile, the arrival of 'Right to Fight' is announced in India - the biggest international event in mixed martial arts history. Both brothers, at the crossroads of their lives, end up enlisting to fight in this 'Winner-takes-all' event. And it is here after an age of estrangement, unknown to the two siblings, they finally stand to face off with each other and against their personal demons, in the ultimate final battle.
It is said, that when a deep injury is done to us, we can never recover until we forgive. Will this final battle between the two brothers repair old wounds?
{[['']]}
']]}Bajrangi Bhaijaan
Bajrangi Bhaijaan
- Initial release: July 17, 2015 (USA)
- Music composed by: Julius Packiam
- Produced by: Salman Khan, Rockline Venkatesh
{[['']]}
']]}Bahubali: The Beginning
Bahubali: The Beginning
- Initial release: July 9, 2015 (USA)
- Director: S. S. Rajamouli
- Producers: Shobu Yarlagadda, Prasad Devineni
STORY
Sivagami( Ramya Krishna) saves a child( Prabhas s/o of Devasena) and runs away. But later when the army chases Sivagami( Ramya Krishna) she hides him in a cave and runs away but anyhow army finds her and kills her. Some pass on villagers sees him and thinks him as a gift from Lord Shiva and names his as Shivudu( Prabhas). Once, when Shivudu( Prabhas) accidentally sees Avantika( Tamannah) who is one of them who want to save Devasena( Anushka) who was imprisoned by Ballala Deva( Rana Daggubati) and fells in love with her. When Shivudu proposes Avantika she tells him that she is on an important work and she can’t have any relationships now. But Shivudu( Prabhas) tells her that its his duty to save her Avantika( Tamannah) and takes the chance to go up the mountain to save Devasena( Anushka shetty). Kattappa(Satyaraj) tries to kill the Shivudu( Prabhas) without knowing that he is son of Bahubali( Prabhas), but when he sees the face of Shivudu( Prabhas), he recognizes that he looks same as Bahubali(Prabhas) and identifies that he is s/o Bahubali(Prabhas) and fells on his feet to apolozige. But Shivudu can’t understand what exactly is happening. By this time, Shivudu killed Ballala deva’s( Rana daggubati) son who is trying to kill Devasena( Anushka shetty).
{[['']]}
']]}Drishyam
- Drishyam
- Initial release: July 31, 2015 (USA)
- Director: Nishikant Kamat
- Running time: 2h 43m
STORY
Drishyam, a thriller that eschews the standard trappings of the suspense genre, is replete with surprises.
That, however, is true only if you haven’t seen any of the four southern versions of the film, especially the recently released one in Tamil – Papanasam, starring Kamal Haasan in full flight.
The narrative nub of the 2013 Malayalam mega hit – which stretches from the sudden flashpoint that triggers its key dramatic conflict all the way to the shocking final revelation – is intricate and taut.
So in this faithful Hindi remake, there is little room for any major tweaking of the plot.
Director Nishikant Kamat and writer Upendra Sidhaye (adapted screenplay and dialogue) still manage to throw in a few new elements.
But the additional twists, except for the relocation of the story to Goa, have negligible impact on the shape and substance of the film.
Director of photography Avinash Arun harnesses the visual potential of the locales to great effect.
But Drishyam steers clear of the Goan beaches and bars that Bollywood loves to distraction.
A snappier lead-up to the main plot twist would have tightened up the film appreciably and let us into the protagonist’s mind and world much quicker.
More momentum early on would have rid Drishyam of some of the flaccid ‘introductory’ scenes in the protagonist’s home, his office and his frequent haunt – an eatery across the street from his business premises.
There is much in Drishyam that is instantly intriguing. Rare is a mainstream Indian film in which a character holds forth on the intricacies of 'visual memory’, on perspectives, on how we tend to believe everything that we see.
In Drishyam, seeing is indeed believing. Everything else spawns a series of questions about right and wrong, and about conventional morality and desperate necessity.
The many imponderables add to the enigma surrounding one ordinary man’s extraordinary struggle to conceal a dark secret.
For Ajay Singham Devgn, Drishyam represents a return to a long abandoned terrain dotted by such critical hits as Zakhm, Gangaajaland Omkara.
The actor brings the full force of his brooding presence to bear upon the role of a common man who does not lift a finger to fight his opponents, but stops at nothing to protect his wife (Shriya Saran) and elder daughter (debutante Ishita Dutta) from harm.
This unconventional hero, Vijay Salgaonkar, a small-time cable TV operator in a Goan location named Pandolem, erects an elaborate web of alibis when an unintentional crime casts a long shadow on his family.
He finds himself up against an unyielding police woman, inspector-general Meera Deshmukh (a rather miscast Tabu), whose personal stake in the case is very high. She is both victim and tormentor.
One tragic incident and two sets of parents with divergent perspectives on it occupy the centre of this unique drama, which draws most of its efficacy from an intelligent script that puts virtually all its cards, save one, on the table.
The schtick that is held back relates to the lies that Vijay Salgaonkar takes recourse to in order to disguise the truth in a manner that makes it impossible for the investigators to penetrate its core. In their unraveling is the crux of the drama.
Vijay’s bete noire is a corrupt and ruthless local sub-inspector who hates the hero’s guts and loses no opportunity to push the man into a corner.
On the face of it, it looks like an unequal battle. The police do not think much of Vijay.
He is a school dropout all right. but he isn’t a sitting duck. His mind games catch the cops unawares.
The law enforcers have no idea that the movie-obsessed Vijay has, over the years, culled enough functional knowledge of judicial processes and investigative procedures to be able to outsmart the best of sleuths.
Ek hi saboot hai hamare khilaaf – hamara darr (there is only one evidence against us – our fear), Vijay tells his wife Nandini and daughter Anju every time the two are on the brink of giving up the fight.
In this struggle to conquer fear and doubt, Vijay’s impulses are easy to understand. Self-preservation is a strong motivation.
But the manner in which a bunch of complete strangers play to Vijay’s tune is not always believable.
And despite the acuity of the story written by Jeethu Joseph (who directed the Malayalam and Tamil versions), the film falls for the lure of an avoidable cinematic cliché – a pubescent daughter as a symbol of a family’s izzat.
It is not quite in sync with what is otherwise a pretty impressive screenplay.
Tabu is caught between two stools – underplaying her emotions (which she does very well) and overdoing her swagger to the accompaniment of loud background music (which obviously isn’t her métier).
In contrast, Rajat Kapoor, in the role the police officer’s businessman-husband who clings to his sanity even as he suffers, is strikingly subtle in his mood shifts.
Drishyam is gripping in parts but is anything but an unblemished humdinger.
{[['']]}
']]}Bangistan
Bangistan
- Initial release: July 31, 2015 (India)
- Director: Karan Anshuman
- Running time: 2h 15m
- Music composed by: Ram Sampath
STORY
True to its title, Bangistan makes more than its share of noise. But this mildly wacky satire on the futility of religious bigotry does not make too much sense.
The central premise of the film is so overly pea-brained that the comedy that it delivers is 'explosive' only in that it manages to reduce any genuine prospects of humour to smithereens.
Two misguided lads from a strife-torn land called Bangistan, in their enthusiasm to serve a cause, get sucked into a global terror plot in faraway Krakow, Poland. That's quite a stretch!
The bombs that the duo plans to detonate prove to be an anti-climax. They go off well ahead of time.
The film, on its part, implodes even earlier. It runs out of ammunition halfway through and then scampers around in circles in the company of the two blundering protagonists.
Bangistan is the cinematic equivalent of a loose cannon that is way off the mark. But rest assured, its many messy misfires certainly aren't for want of trying.
If anything, first-time director Karan Anshuman goes all out to drive home his point about the primacy of peace, love and brotherhood in a world in the grip of hatred and violence. Clap, clap!
If only he knew of a concept called moderation and stopped short of the point of no return, the output might have been far less tedious.
Bangistan stretches its meagre narrative resources to snapping point, but is unable to achieve even a smidgen of coherence.
In the imaginary landscape that the film is set in, two religious leaders, one Muslim and the other Hindu (Tom Alter and Shiv Subramanian respectively), decide that they must do their bit for mankind and restore order.
So they draw up plans to head to the world religions conference in Krakow and deliver a joint appeal for amity from the pulpit there.
But two other religion-obsessed men - a guruji with political ambitions and a militant leader with designs to be the next Osama bin Laden (both played by Kumud Mishra) - conspire to scuttle the peace plan by sending a handpicked suicide bomber each to the venue.
The central premise of the film is so overly pea-brained that the comedy that it delivers is 'explosive' only in that it manages to reduce any genuine prospects of humour to smithereens.
Two misguided lads from a strife-torn land called Bangistan, in their enthusiasm to serve a cause, get sucked into a global terror plot in faraway Krakow, Poland. That's quite a stretch!
The bombs that the duo plans to detonate prove to be an anti-climax. They go off well ahead of time.
The film, on its part, implodes even earlier. It runs out of ammunition halfway through and then scampers around in circles in the company of the two blundering protagonists.
Bangistan is the cinematic equivalent of a loose cannon that is way off the mark. But rest assured, its many messy misfires certainly aren't for want of trying.
If anything, first-time director Karan Anshuman goes all out to drive home his point about the primacy of peace, love and brotherhood in a world in the grip of hatred and violence. Clap, clap!
If only he knew of a concept called moderation and stopped short of the point of no return, the output might have been far less tedious.
Bangistan stretches its meagre narrative resources to snapping point, but is unable to achieve even a smidgen of coherence.
In the imaginary landscape that the film is set in, two religious leaders, one Muslim and the other Hindu (Tom Alter and Shiv Subramanian respectively), decide that they must do their bit for mankind and restore order.
So they draw up plans to head to the world religions conference in Krakow and deliver a joint appeal for amity from the pulpit there.
But two other religion-obsessed men - a guruji with political ambitions and a militant leader with designs to be the next Osama bin Laden (both played by Kumud Mishra) - conspire to scuttle the peace plan by sending a handpicked suicide bomber each to the venue.
The two chosen terrorists trade religious identities before the mission gets underway in order to fox the world.
Call centre employee Hafeez bin Ali (Riteish Deshmukh), becomes Ishwarchandra Sharma and struggling Hanuman impersonator Praveen Chaturvedi (Pulkit Samrat) turns into Allah Rakha Khan.
The two men exchange predictably superficial inanities about faith. In one scene, they strip down to their bare essentials to reveal, well, striped undies of the same colour.
Yes, that is the depth that their constant banter plumbs. They have a go at each other over their assumed avatars and on the positives of the religion that each now represents.
Two other characters pop in and out of the picture: Rosie (Jacqueline Fernandez) and Bangladeshi migrant Tamim (Chandan Roy Sanyal).
The former works as a bartender in a pub called Bull and Boar, where the two protagonists discover the joys of shots of Polish vodka.
The latter is a glib cabbie who moonlights as an agent for illegal migrants.
While Tamim is heard at one point of the film referring to the two Bangistani troublemakers as "these bloody terrorists", Rosie makes no bones about the fact that she has no religion.
The result of this bunch of people working at cross-purposes is utter confusion, which reaches a crescendo in a grotesquely chaotic climax.
Bangistan is marked by a splash of colours, with green and saffron predictably holding sway over many of the frames.
But these shades never gel well enough to deliver an effective advertisement for the historic Polish city that the action unfolds in.
The involvement of the Polish Film Commission with the intention of promoting the country as a location is announced upfront in the credits.
Bangistan has been shot by Polish cinematographer Szymon Lenkowski. He does not lose any opportunity to capture the city of Krakow in all its splendour.
Unfortunately for Lenkowski and his beautiful country, the hammy actors keeping getting in the way and mucking up the view.
Bangistan, for all the hoopla that it whips up, is a damp squib that does not deliver much bang for the buck. It is neither a blast nor a riot.
It is more like an overpainted runaway truck that loses its wheels before the trip has well and truly begun.
It careens out of control before you can say bang and hurtles scratchily down a path that hits a dead-end all too quickly. Stay out of the way.
If you really desire to visit Krakow, pack your bags and spare yourself a Bangistan detour.
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