Thursday, October 28, 2010

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Shake Hands with the Devil Hollywood Drama Movie 2010

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Cast And Crew
Cast:Roy Dupuis,James Gallanders,
Odile Katesi Gakire,Deborah Kara Unger,
Jean-Hugues Anglade,Owen Sejake
Directed By: Roger Spottiswoode
Rated: R
Running Time: 1 hr. 52 min.
In Theaters: Oct 29, 2010 Limited
Distributor: Regent Releasing/here! Films
Genre: Drama

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Synopsis:
Director Roger Spottiswoode brings a very special film realization of the acclaimed best-seller by General Roméo Dallaire to the screen in "Shake... Director Roger Spottiswoode brings a very special film realization of the acclaimed best-seller by General Roméo Dallaire to the screen in "Shake Hands with the Devil," the story of a Canadian commander torn between his duty and his conscience when he finds himself eyewitness to hell on Earth. In 1993, the United Nations dispatches Lieutenant-General Roméo Dallaire (Roy Dupuis) to far off Rwanda to oversee a fragile cease-fire. A brilliant, workaholic officer and charismatic commander, Dallaire encounters the shabby reality of a typical UN peacekeeping operation: under-funded, overbureaucratic, and cobbled together from military units from dozens of countries, each with a slightly different agenda. Meanwhile, the peace agreement between the rebels, led by the minority Tutsi ethnic group, and the French-supported government dominated by the Hutu majority group, turns out to rest on shaky ground.



When an unknown group shoots down the Rwandan President's plane, the storm breaks and a secret but long-planned genocidal campaign against the Tutsi minority begins with a night of terror in Kigali. A reporter (Deborah Unger) remains in-country and follows General Dellaire as he is forced to deal with far-away superiors and the studied indifference of the world's great powers while trying to take decisive action to stop the genocide of over 800,000 innocent civilians.

Movie Review:
United Nations commander Roméo Dallaire (Roy Dupuis) as Shake Hands with the Devil opens in bright blue-washed flash forward. It's a puzzling inquiry from a bureaucracy, though considering the rampant genetic cleansing Dallaire has witnessed in Rwanda, it's a forceful reminder of the powerful influence he maintains over his own destiny—an influence that 800,000 Tutsi, and Hutu moderates, weren't fortunate enough to have. We, with our constitutionally protected right to live, feel similarly complicit (especially given the Western world's refusal to intervene in the genocide) until we realize that the scene, played out between Dallaire and skeptical UN officials and interspersed throughout the film, isn't meant to be a polemical rumination on mortal agency, but a tetchy reenactment of hierarchical nose-rubbing. And Dallaire's story, about the UN's failed intervention during the inter-tribal conflict in Rwanda, isn't an eyewitness account of human atrocity, but a hot-blooded condemnation of political bungling.



This approach reasonably exposes and vents anger toward a myriad of real-life parties made guilty by their inaction. Humanitarian administrators Jacques-Roger Booh-Booh (John Sibi-Okumu) and Boutros Boutros-Ghali (David Calderisi) in particular come off uncompassionate rather than defensibly muddled by red tape, a criticism preserved from Dallaire's source memoir; when they aren't weaseling out of communication with UNAIR forces, they're insisting that "we cannot take the offense, even to protect the slaughter of the innocent." But the film's persistent interloper's perspective also allows the unthinkable events behind the criminal passivity to be incompetently dramatized, when addressed at all: We're so glued to Dallaire's gaze that the genocide feels like a peripheral occurrence. The only cadavers lingered on in the first act aren't Tutsis, but Belgian soldiers, stacked in an unceremonious, if message-sending, pile by the national militia. And when the Plutonian reality of the massacre is finally, fleetingly rendered as an orgy of machete'd limbs, corpse mountains, and slippery blood puddles, the film insists on having a CNN reporter simultaneously capture the affair with a camcorder; the violence we're seeing, in other words, is not only being filtered through director Roger Spottiswoode's camera, but through the implied lens of nightly news.



Most on-screen representation of genocide cleverly distances us from the numbing, horrific brunt with storytelling chicanery and sympathetic protagonists that personify the psychological effects of brutality rather than its visceral experience. Shake Hands with the Devil's top-down viewpoint protects us from the sinewy, sickening details while assigning crucial blame, but in doing so it's just as dismissive of the doomed Rwandans as the UN. We learn of the genocide's progression mostly behind closed doors, where Dallaire and a group of UNAIR officials debate ineffectually with words and commands over slaughters that are occurring with rusty swords and sexual violations only a few miles away. (Aside from a few tense moments between Hutu army men and Belgian peacekeepers, our awareness of the conflict is limited to shifts in conversational tone—e.g., "A genocide is about to happen," "A genocide is occurring," and "How many people can we save before we evacuate?"). It's as if the Greek chorus has confused itself with the tragic hero and usurped the stage in a fusillade of narrative rhetoric; even the cinematography's color scheme appears brown-bleached to match the beige camouflage of Dallaire and his men.



Dallaire surveys the carnage one last time after volunteering to be relieved of duty, and thin, manly tears betray his otherwise stoic expression. He then remarks at how the pervasiveness of senseless death has penetrated his "protective screen," an emotional shield he can usually deploy at will while in combat. His visible sorrow is meant to be an ominous, if arbitrary, gauge of the Rwandan atrocities—proof that genocide is much more than simply the obligatory inferno of wartime ethics. But this denouement inadvertently reveals the Dallaire character as our own "protective screen," a device through which we observe shadows and reflections of events from which we choose to avert our eyes. Just as Dallaire has the opportunity to choose life in a manner that nearly a million Hutu did not, we, too, are allowed to "witness" Rwanda at a casual distance—by marveling at, finally, how the systematic murder and rape of hundreds of thousands of civilians reduced a hardened army man to a weeping jag. What ultimately characterizes Shake Hands with the Devil is its cumbersome sense of contrition, but the film seems only foggily aware of what its apologizing for.

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Watch Free Online Monsters 2010 Movie Watch Latest Monsters Hollywood Film Video, Download,Review Cast

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Cast And Crew
Cast:Scoot McNairy,Whitney Able
Directed By: Gareth Edwards
Written By: Gareth Edwards
Distributor: Magnolia Pictures
Rated: R [See Full Rating] for language
Running Time: 1 hr. 37 min.
In Theaters: Oct 29, 2010 Limited
Genres: Drama, Horror, Romance,
Art House & International,
Science Fiction & Fantasy

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Synopsis:
Six years ago NASA discovered the possibility of alien life within our solar system. A probe was launched to collect samples, but crashed upon... Six years ago NASA discovered the possibility of alien life within our solar system. A probe was launched to collect samples, but crashed upon re-entry over Central America. Soon after, new life forms began to appear and grow. In an effort to stem the destruction that resulted, half of Mexico was quarantined as an INFECTED ZONE. Today, the American and Mexican military still struggle to contain the massive creatures... Our story begins when a jaded US journalist (McNairy) begrudgingly agrees to find his boss' daughter, a shaken American tourist (Able) and escort her through the infected zone to the safety of the US border. --

Movie Review:
A somewhat buzzy entry at both the South By Southwest and Los Angeles Film Festivals earlier this year, writer-director Gareth Edwards' spare, guerrilla-style Monsters tries to put a low-fi spin on the science-fiction genre, giving an intimate, ground-account view of a much bigger event, not unlike Cloverfield, Right at Your Door or The Crazies. Despite some engaging production design and budget-level effects work, though, the film bogs down at the midway point due to an inane script, and never really recovers.

Monsters unfolds in a near-future or alternate present day state of distress. It centers on a jaded photojournalist, Andrew Kaulder (Scoot McNairy), who finds himself tasked with locating his corporate boss' daughter, Samantha Wynden (Whitney Able, above), and escorting her to safety, along the edge of a perilous border region infected with extraterrestrial creatures.

In certain ways, the movie feels like a little brother or younger cousin of Neill Blomkamp's much more organized and disciplined (and, to be fair, bigger budgeted) District 9, where crash-landed alien creatures are confined to a cordoned off sector while the world around them goes on doing its thing. The backstory here, though (a space probe launched a half dozen years earlier to collect extraterrestrial samples crashed upon re-entry over Central America, spawning aggressive new life forms), is neither particularly clearly delineated or compellingly interwoven into the narrative. So we've got a wasteland road trip with a pair of mismatched non-lovers and some Moonlighting-lite bickering. Does that hold up for an hour and a half? No, not really.



The behind-the-scenes story earns the movie a hearty dose of respect and admiration. Shot with just a five person crew and a cast of essentially two, Edwards and his creative team traveled through Guatemala, Belize and Mexico, finding and utilizing their locations and supporting actors as they went. The result is loose-limbed, and unfolds against a backdrop that isn't overly processed.

Edwards' technical proficiencies are obvious and quite real (in addition to writing and directing, he also takes cinematographer, production designer and visual effects supervisor credits), but do not extend to the written realm, alas. There is quite obviously a sociopolitical undercurrent to the movie (the entirety of Mexico is deemed a quarantined infected zone), but Edwards only engages fitfully on this front, and when he does, it's often in clumsy metaphor, as with the alien creatures who display more aggression whenever American warplanes pass by overhead. (Get it?) It's clear that he wants Monsters to mean something in addition to entertaining an audience, but it's just as clear (if the perfectly generic, rather ill-fitting title wasn't already an indicator) that he hasn't figured out what exactly it's supposed to mean.



Nevermind, too, some howlingly bad dialogue and wrongheaded vocalizations (upon stumbling across a candle-laden church with commemorations to the dead, a character actually solemnly utters, "The vibe just changed"), as well as myriad other narrative details that don't add up — the fact that Andrew is laboring for a compelling still photo of these supposedly elusive beasties, for instance, even though cable television runs wall-to-wall images of them. Edwards has the nuts-and-bolts talents of a filmmaker, but Monster seems, on whole and in piecemeal fashion, a sop to audiences, a work of commercial pandering in lieu of any actual burning passion.



Apart from its impressive production design (forlorn and of a piece) and a rather relaxed pacing that isn't interested in attempting to make a play for breakneck scares, the strongest thing going for Monsters is Able's performance. With her short bob haircut and conflicted awareness of her own entitlement, she takes her unhappily engaged rich girl character and breathes into her a three-dimensionality and life not present in the written word. McNairy, on the other hand, never seems particularly believable as a photographer (a maladjusted indie band drummer is more like it), and so his arc, and indeed presence, induce at first sighs, then irritation, then hostility. In a movie called Monsters, someone should get eaten. It's a shame that it's not him, leaving more one-on-one time with the very able Able.

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Cast And Crew
Cast: Melissa Leo,Kristen Stewart,
David Jensen, James Gandolfini,
Lance E. Nichols, Kathy Lamkin
Directed By: Jake Scott
Rated: R
Running Time: 1 hr. 50 min.
In Theaters: Oct 29, 2010 Limited
Distributor: Samuel Goldwyn Films
Destination Films
Genre: Drama

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Synopsis:
WELCOME TO THE RILEYS is a powerful drama about finding hope in the most unusual of places. Once a happily married and loving couple, Doug and Lois... WELCOME TO THE RILEYS is a powerful drama about finding hope in the most unusual of places. Once a happily married and loving couple, Doug and Lois Riley (James Gandolfini and Melissa Leo) have grown apart since losing their teenage daughter eight years prior. Leaving his agoraphobic wife behind to go on a business trip to New Orleans, Doug meets a 17-year-old runaway (Kristen Stewart) and the two form a platonic bond. For Lois and Doug, what initially appears to be the final straw that will derail their relationship, turns out to be the inspiration they need to renew their marriage.

Movie Reviews:
Welcome to the Rileys is filled with heartbreak. Doug and Lois Riley (James Gandolfini and Melissa Leo) have suffered so much from it that she refuses to leave the house. After the tragic death of their teenage daughter, everything has changed for this couple. Doug has found himself in a secret relationship with a waitress named Vivian (Elsa Davis), one which ends up bringing more pain. They clearer had been happy together at one time, probably very happy. Sadly, they are both in desperate need of each other now more than ever, yet they just can’t connect.

When Doug takes a trip to a convention in New Orleans, he meets a stripper named Mallory (Kristen Stewart). She dances for him and convinces him to get a private show. He decides to go with her mostly due to the fact that some of his peers have shown up to the same strip club. Once upstairs, it is clear that Doug is not interested in sex, at least not from a girl that reminds him of his daughter. Not surprisingly, the two meet again and begin to develop a father/daughter bond. Things get even more complicated when Lois finally gets out of the house and surprises her husband. This is an odd family mix as you can probably tell.

Kristen Stewart is clearly the one to watch here. Since taking on Bella in the Twilight Franchise, it seems she has had to prove herself more than most young actresses. In ‘Rileys’, she still pulls at her hair and has a sly nervousness that she evokes. Yet in nearly all her non-Twilight features, she offers a sort of vulnerability which you just can’t fake. Her relationship with James is very touching and sometimes very real. Once Melissa’s character enters “Mom” mode, there is an even more delicate and heartbreaking mother/daughter bond.

Gandolfini, Leo and Stewart are well and able to carry this story pretty far, and it truly is a success for that reason. The script by Ken Hixon smartly avoids getting into over-sentimentality. Director Jake Scott also covers this dark and slightly disheartening material extremely well. Occasionally the actions and conversations grew a little redundant for the first half of the film, yet things picked up when Melissa Leo’s mother figure arrived.

‘Rileys’ is a sad story. It has humor and it has heart, and it was nice to see a story like this handled with such great care. As far as Mallory is concerned, the progress she makes is mostly believable, but you wonder if she can truly change her life around. The three main actors all share a very surprising connection. Stewart’s Mallory is a girl who is in dire need of someone to care about her, but when someone does, she lashes out at them. This triangle makes for a sad journey that brings a little bit of hope to everyone involved. You are then left to wonder, is hope enough?

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Cast And Crew
Cast:Emily Blunt,Rupert Grint,
Martin Freeman,Bill Nighy,
Rupert Everett,Eileen Atkins
Directed By: Jonathan Lynn
Written By: Lucinda Coxon
Rated: PG-13
Running Time: 1 hr. 28 min.
In Theaters: Oct 29, 2010 Limited
Distributor:Freestyle Releasing
Genre: Action & Adventure, Drama, Comedy

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Synopsis:
Wild Target is a comedy about uptight Victor Maynard (Bill Nighy), a middle-aged, solitary assassin, who lives to please his formidable mother Louisa... Wild Target is a comedy about uptight Victor Maynard (Bill Nighy), a middle-aged, solitary assassin, who lives to please his formidable mother Louisa (Eileen Atkins), despite his own peerless reputation for lethal efficiency. His professional routine is interrupted when he finds himself drawn to one of his intended victims, Rose (Emily Blunt).He spares her life, unexpectedly acquiring a young apprentice in the process, Tony (Rupert Grint). Believing Victor to be a private detective, his two new companions tag along, while he attempts to thwart the murderous attentions of his unhappy client

Movie Reviews:
Homicide for hire as a weapon of laughter in a comedy may be an even more daunting challenge to pull off in a movie than engaging in the assassination profession itself. But British director Jonathan Lynn (Nuns On The Run, My Cousin Vinny), who's displayed his expertise at mixing murder and silly mayhem on both continents, continues to exhibit his flair for pathological lunacy with Wild Target. Even as the story occasionally feels overwrought and recycled.



Emily Blunt is Rose in Wild Target, a daffy, alluring kleptomaniac who whimsically advances in her illicit chosen career from petty shoplifting to high end counterfeit art, specifically a Rembrandt housed in a museum. But Rose makes the grave error of pawning off the fake on ferocious London crimelord Ferguson (Rupert Everett), who's not in the least amused.

Enter Victor Maynard (Bill Nighy), an efficient, gentlemanly killer for hire assigned by Ferguson to terminate Rose. Victor is also the henpecked descendant of an infamously esteemed dysfunctional crime family presided over by austere, nagging widowed mom Louisa (Eileen Atkins). Who happens to excel at the art of premeditated gunplay herself even though confined to a wheelchair at a nursing home, as well as expertly impaling annoying parrots with knitting needles.



A lonely aging professional gunman who's about to take a hit of his own from midlife crisis, Victor is increasingly infatuated with overly confident artful dodger Rose. And recklessly abandons his assignment of dispatching her without fuss to the afterlife, to rescue her instead. Though the package deal includes harboring incidental flaky fugitive Tony (Rupert Grint). None of which sits well with a furious Ferguson, or Victor's disapproving malevolent mum.

By no means everyone's cup of tea with crumpets, Wild Target necessitates an acquired taste for British comedy. Meaning a highly stylized and inhibited snobbish irreverence, served up with a slice of outlandish sinister menace on the elegant
With its incredibly likable cast and entertaining premise, Wild Target should have been better, but it never goes far enough and isn't as zanily funny as it's trying to be.



Bill Nighy stars as Victor, an aging assassin. One day he's hired to kill Rose (Blunt), a young woman who has just pulled off an art scam where she sold a fake Rembrandt to the wrong person. Instead of killing Rose, he ends up developing a crush on her and decides to protect her instead. Tony (Grint), is an innocent bystander who gets involved with Rose and Victor when he witnesses Victor kill another man sent to kill Rose.

In 2007, Emily Blunt played Bill Nighy's daughter in the BBC's Gideon's Daughter. With the 33 year difference in their age, that certainly makes more sense than the 27 year old Blunt falling in love with the 60 year old Nighy as she does here. Their romance is the least convincing part of the entire movie. Part of Victor's story is that he's feeling the need to start a family and having a more fatherly relationship toward Rose would have made more sense.

Part of the problem with the story is that the characters are never really developed. We know almost nothing about any of them. Victor comes from a long line of assassins and some of the best scenes are the scenes between him and his mother played by Eileen Atkins. Apart from the fact that Rose is a compulsive thief, we know nothing about her and Tony is a third wheel that could have been cut from the plot without losing anything.

The pacing also needed to be picked up. It's not a long movie, but for the laughs it needed to be more like a screwball comedy. At one point in the movie, Rose, Victor and Tony end up staying in the same hotel as the man who wants to kill Rose and you'd expect some resulting door slamming and near misses, but it never really happens.

Martin Freeman has a small part as the big-toothed rival assassin who's sent to kill Victor and Rose. He manages to wring a few laughs out of the part and fares much better than a wasted Rupert Everett.

In fact the whole movie feels like a wasted opportunity. Such a good cast and premise should have been better. It's a remake of a 1993 French Farce, but it feels so restrained as though the British reserve has weighed it down.

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Saw 3D Hollywood Horror Movie (2010)


Cast: Tobin Bell, Costas Mandylor,
Sean Patrick Flanery,Cary Elwes,
Betsy Russell,Gina Holden
Directed By: Kevin Greutert
Written By: Marcus Dunstan,
Patrick Melton
Running Time: 1 hr. 31 min.
In Theaters: Oct 29, 2010 Wide
Distributor:Lionsgate
Rated: R
Genre: Horror

Synopsis:
The Saw series continues with this seventh entry, spearheaded by director Kevin Greutert. Marcus Dunstan and Patrick Melton also are back to pen the... The Saw series continues with this seventh entry, spearheaded by director Kevin Greutert. Marcus Dunstan and Patrick Melton also are back to pen the script, which details the ongoing exploits of long-dead serial killer Jigsaw and the people who continue his gruesome morality lessons.

Fan Reviews:
As a fan of the series, it was impossible not to be bothered by how little time was spent with either Jigsaw or Gordon, the characters that mean the most to the series at this point.
Incomprehensible story, cheesy dialogue, poor execution, cheap production value - Saw 3D hits for the cycle of bad filmmaking.
What SAW VII doesn't have: a decent plot, characters you care about and an ounce of credulity. This is so over-the-top and convoluted it's goofy.
The fact that SAW VII (or SAW 3D) is kind of crappy should come as no real surprise to anyone. Even the hardcore fans are pretty much just into it for the inventive gore scenes. The actual Jigsaw killer (seen in all-too-brief flashbacks, played by Tobin Bell yet again) was killed at the end of SAW III. Rather than use the Friday the 13th method of resurrecting Jason (with a bolt of lightning in Friday VI) or Elm Street's various shonky rationales for bringing Freddy back - the SAW franchise keeps ret-conning the plot so a bunch of other folks are doing the killing. That would be okay if they followed Jigsaw's rather heavy-handed form of tough love, making people appreciate all they have by putting them through ingenious, grisly tests - but unless you've been following every movie obsessively (and we'll get to you guys in a second) SAW VII is a patchy, sometimes confusing experience.

That said, are you really expecting an amazingly fresh and ingenious journey from a flick with the roman numeral "VII" in the title? Even seasoned horror lovers will have to admit that the words "part seven..." are rarely followed with "... was the best one!"



So what SAW VII has: graphically violent death sequences. Intestines fly, heads explode and arms are torn off in 3D - and they really ramp up the kill count in this one with pretty decent effects, although the blood seemed a little pink and the 3D added nothing.

What SAW VII doesn't have: a decent plot, characters you care about and an ounce of credulity. This is so over-the-top and convoluted it's goofy.

Still, teenage boys, stoners and gore-hounds with low expectations may have fun. Anyone expecting a decent ending to the series will not. This, however, is the final SAW in the same way that Friday the 13th part IV: The Final Chapter was actually the final one, ie. it's not. There are way too many plot strands left dangling - and questions raised in the final act.
SAW VII is just as silly and trashy as it looks. If you know that and still want to see it: watch or don't - the choice is yours

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Cast And Crew
Cast: Nick Stahl,Jonathan Jackson,
Christopher Clark,Beau Garrett,
Robert Forster,Alona Tal
Patricia Kalember,Sammi Hanratty
Director:James Hausler
Producers: Juliana, Penaranda
Writer: James Hausler
Art Department: Elizabeth J. Jones...
Theatrical Release: 10/22/2010
Genres: Thriller
Runtime: 98 min
Filming Locations: Fairfax, Virginia, USA
Language: English
Country: USA

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Storyline:
After a recent breakup, Billy returns to his hometown to find something is not quite right with his best friend.
Kalamity is a thriller film, set for release on October 22, 2010. The film is written and directed by James M. Hausler and stars Beau Garrett, Nick Stahl, Alona Tal, Jonathan Jackson, Robert Forster, Jill Latiano, Sammi Hanratty, Patricia Kalember, Anya Bergstedt Jordanova, Patrick Michael Strange, Michael Gabel, Kate Bliss, James M. Hausler.

Movie synopsis:
Haunted by memories of his ex-girlfriend Alice (Beau Garrett), a heartbroken Billy (Nick Stahl) returns home to Northern Virginia seeking solace from old friends. But what he finds there is more disconcerting than comforting: his best friend Stanley (Jonathan Jackson) has become unstable, mysterious, and withdrawn from those around him. Billy teams up with another old friend, Stanley’s roommate Christian (Christopher M. Clark), to find out what’s going on, and as they probe Stanley’s recent activities, their friend’s behavior seems more and more bizarre and frightening. The discovery of blood-stained evidence among Stanley’s possessions pulls them deeper into their friend’s nightmare—and eventually leads to a violent confrontation that not everyone will survive.



User Reviews:
Kalamity is a believable psychological thriller directed by James Hausler. Hausler anchors his cast with Nick Stahl in a lead role as well as veteran actors Robert Forster and Patricia Kalember. Stahl returns to his hometown after a broken romance in pretty bad emotional shape. Hoping to turn to his best friend, Stan, Billy (Stahl) soon learns that something is very wrong with Stan. As the plot unfolds, Hausler builds suspense keeping the audience completely engaged as the mystery unfolds.



Jonathan Jackson, a relative newcomer in comparison to Stahl, believably portrays a disturbed young man, whose life changes in an instant.Christopher Clark has some difficulty in his off-beat role but does not detract from the overall quality.

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Cast and Crew
Cast: Rathanmaule, Bhagyanjali, Sushma
Director: Sivaji Das
Producer: B.Sudhakar
Music Director: Pr. Srinarth
Release Date: 22 Oct 2010
Genre: Action – Romance
Language: Tamil

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Cast and Crew
Cast : Prosenjit Chatterjee,
Nandana Sen, Indraneil Sengupta,
Rudra Prasad, Sengupta, Piyush Ganguly etc.
Director : Srijit Mukherjee
Music Director: Debojyoti Mishra & Anupam Roy
Singers : Rupam Islam, Shreya Ghoshal,
Shankar Mahadevan, Anandee Basu,
Saptarshi Mukherjee, Priyam,
Mukherjee, Anupam Roy
Lyrics : Anupam Roy, Srijato and Srijit Mukherjee
Editing : Bodhaditya Banerjee
Release date: 14 October 2010
Running time: 120 minutes
Banner : Shree Venkatesh Films in Association with Cinergy

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Movie Plot Summary:
Srijit’s Autograph is basically a film within a film that attempts to showcase the moods and character of one particular superstar – Arun Chatterjee and at the same time it ha s also tried to show the dark tales behind the stardom.

Movie Detail:
Autograph, a Bengali film, is produced by Shrikant Mohta and Mahendra Soni of Shree Venkatesh Films, the makers of Chokher Bali, Raincoat and Iti Mrinalini; in collaboration with Madhu Mantena, the producer of Ghajini and Rann. It marks the debut of Srijit Mukherji as a writer/director and stars the reigning matinee idol of the Bengali Film Industry, Prosenjit Chatterjee, the internationally acclaimed actress Nandana Sen and the emerging new face of Bengali parallel cinema, Indraneil Sengupta. The plot revolves around three lives - that of a superstar, an young director and a theatre actress - and how their coming together during the process of making a film, changes them forever... The film is also a humble tribute to Satyajit Ray's Nayak and is expected to release in September 2010.

This film is supposed to be a tribute to both Ray and Uttam Kumar as it is on the lines of Nayak. In fact so much so the central character of the film is called Arun Chatterjee.
The matinee idol is an arrogant man and at the peak of his career. To prove a point to his detractors and that he is perpetually one-up on Destiny, he accepts the songless, middle-of-the-road script is offered by the director.
We also have a theatre actress who lives in with the director, and who gets cast as the journalist in the film within the film. Here onwards, the film gets split into two parallel storie

Movie Review:
The young theatre actress gets back to rehearsing her stage part in front of her video cam when her film is over and ready for release. Arun Chatterjee drops in suddenly and pours his heart out in a moment of alcoholic vulnerability. She forgets to switch the video cam off. The hero’s outpourings get recorded to become ‘breaking news’ on a television channel the following night, unknown to the theatre actress. The three worlds – the world of Arun Chatterjee, the world of Shubhobrata Mitra, and the world of Srinandita fall apart, collapse and break down only to begin again, differently and sadly. Some of this sadness spills over and you carry bits and pieces of it out of the theatre. “I am Arun Chatterjee. I am the industry,” is the superstar’s favourite one-liner. It also underwrites the anxiety and the tragedy that underlie the statement.
camera is perfect chemistry for the story he captures on his camera – closing in on the swift changes in the facial expressions of the hero, the medium shots of Srinandita teaching her boyfriend how to use chopsticks, or getting into cushion fights, or, sharing in the gay camaraderie of lovers. The scenes showing Srinandita in semi-silhouette waiting at the station for the train to take her to some unknown destination as the camera cuts to close in on the bound script of the film she has left behind on a bench are moving. The flux in the relationship is in direct contrast with the lovey-dovey togetherness of the married couple enacted sparklingly by Sohini Pal and Dhruv Mookerji. The nightmare scene captured in diffused shots with white-cloaked ghosts from Arun’s past gliding away in silence as if in limbo is another masterful stroke. Arun’s captivity within his synthetic image is tellingly depicted through the massive sketches and portraits that surround the walls of his flat. Beautiful top-angle shots taken from a long distance show the hero driving along a national highway, the lights flashing along the way dotting the darkness of the night. A bunch of white pigeons in flight pass across in the other direction, one after another, of their own volition, free from the trappings the hero is bound by.

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Cast and Crew
Cast: Arya, Nayanthara, Santhanam
Director: Rajesh
Producer: K. S. Sreenivasan
Music Director: Yuvan Shankar Raja
Cinematographer: Sakthi Saravanan
Story Writer: Rajesh
Genre: Comedy - Romance
Language: Tamil
Certification: U
Release Date:
10 September 2010 (India)


Movie Plot Summary:
Boss Engira Bhaskaran is a romantic movie which is directed by ‘Siva Manasula Sakthi’ fame Rajesh. The music of the movie is released on 27th August, 2010 at the Sathyam Cinema by actor Suriya and Harris Jayaraj. The soundtrack album features 5 tracks. Yuvan Shankar Raja tuned Boss Engira Bashkaran songs and the film is being promoted under the banner of Red Giant Movies of Udhayanidhi Stalin. The lyrics of all songs are written by Na. Muthukumar.



Movie Synopsis:
Boss Engira Baskaran movie revolves around Arya, a fun-loving guy, and his relationship with Santhanam and Nayantara. The story is all about a happy go lucky boy Arya who doesn’t take anything serious in his life but be first to help others. Nayanthara plays a common practical young girl who falls in love with the hero.



Movie Review:
Arya, Nayantara and comedian Santhanam are in lead roles in Boss Engira Bhaskaran. Both actors are paired for the first time in this movie. The producer of the movie is K S Sreenivasan of Naan Kadavul fame. The story is about a cheerfully careless guy who is always busy running tasks for other people and neglecting his own life and career. In this movie, he meets a school teacher (played by Nayanthara) and fall in love with her. This funny drama is mixed with comedy and romance with sang-froid narration. Arya and Nayanthara will also be doing an off-beat Malayalam film which is directed by noted art house director Shyamaprasad.

Boss Engira Baskaran is the movie which hit the theaters. The Movie is really nice and is also reported to be good by the critics. Boss Engira Baskaran is having a different kind of story. The Movie is Directed by Rajesh. Boss Engira Baskaran is having Arya , Nayantara, Santhanam, Vijayalakshmi, Rajendran as Star Cast.



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Talking about the songs, the title song ‘Bossu Bossu’ is a peppy number shot across the street of town. This song is quiet similar to the number ‘MGR Illainga’ from ‘Siva Manasula Sakthi’. ‘Yaar Indha Penn’ is a mellisonant number when you first time hear this song you will grab. ‘Thathi Thaavum’ hop-skips into a different genre of western touch while rest of the songs ‘Ayile Ayile’ and ‘Kumbakonam Vethalai’ are on different strike.

Boss Engira Bhaskaran Track-list:

* Boss Boss
* Yaar Indha Penn
* Thathi Thaavum
* Ayile Ayile
* Kumbakonam Vethalai

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