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When does an era qualify for nostalgia? Jonathan Levine's The Wackness is a studiously offbeat coming-of-age crowd-pleaser set in New York City during the long-ago, far-away days of...the summer of 1994. The film is dotted with timely signifiers (Forrest Gump ads on a bus, lots of jabber about Giuliani), but its one truly relevant reference point is that this was the last moment in the culture before cell phones. Since The Wackness tells the story of a teen drug dealer, pagers and pay phones are part of his arsenal.
Luke Shapiro is a geek with a swagger on the Upper East Side of Manhattan who sells bags of pot out of a fake Italian-ices cart. He's played by Josh Peck, a swarthy, insinuating actor whose knitted brows and scratchy-voiced, mocking manner are reminiscent of Bruno Kirby and David Krumholtz. The Wackness skates over the particulars of Luke's drug operation, because the teen-pot-salesman premise is little more than that — a premise. There's a far more sentimental and, yes, quirky teen romance nestled within this tale of a dude who peddles the chronic as innocently as a paperboy. ''Olivia Thirlby'', as Luke's crush, is as sultry-fresh as she was nerdishly genuine in ''Snow Angels'', but the love story, which doesn't go anywhere new, seems an afterthought by the time Luke buddies up with his shrink, an ornery, long-haired pothead played by Ben Kingsley with a ''New York'' accent somewhere between Brooklynese and Hungarian. Since the shrink is never a credible human being, The Wackness feels a little half-baked (no pun intended). The best thing about it is Peck, who shows you the sweet, virginal kid hiding inside the outlaw poseur.
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Bad comedies are the worst type of bad movies to suffer through. Bad horror, bad action, bad fantasy and bad sci-fi can be enjoyable in their badness(so bad its good) but I have yet to see a bad comedy with that redeeming factor. That much being said this is the lamest attempt at comedy that I have seen all year and is definitely on my list of bad movies. The whole story is some punk kid(I dont know his name and I really dont care) gets harassed by his over-the-top stereotypical mother and father to get out of the house and get a job so he and his friend come up with an idea that to run a strip club out a basement. So they hire a group of mentally and physically handicapped women to work for them.
Opinion: Read the so-called plot again and you'll realize why it sucks. This movie is not only conscious of it being low budget but the people in this "movie" act act just like people in a low budget comedy would act. The attempts at humor are pathetic and everybody in this movie is a caricature. You got the stereotypical strict black parents who act like fools, you got the two boys that this "film" is centered around who act like black versions of Tweedledumb and Tweedledumberer. The strippers are as follows: a Hispanic with Tourette's syndrome, one Caucasian with a hole in her throat and talks through those electronic devices, one attractive black girl with a peg leg and another atractive black girl who sleeps a lot. I can see why they chose these girls to be strippers. They're perfect! Look, Im not expecting top notch acting from a low budget comedy but at least put some effort into what you do. This film just plops itself on the screen and stays there for an hour and 40 minutes with nothing funny happening. This movie is not even fun to pick apart and makes Soul Plane look like a classic.
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Somewhere some Hollywood executive is thinking that it was a fantastic idea to make a prequel to the first Scorpion King movie. With all the box office The Mummy franchise generates, this straight-to-DVD movie seems like a no-brainer right? Oh, man, that Hollywood executive couldn’t be more wrong.
The first Scorpion King movie, starring Dwayne “The Rock” Johnson, is a guilty pleasure of many. It’s a fun movie to watch, and he has a bit of charisma, which goes a long way on a horrible script and empty story. It’s mindless action, with a few witty (I use that term loosely) quips from The Rock, and it’s fairly well made. Also, the first Scorpion King movie was a prequel to The Mummy series, so Scorpion King 2 is a prequel to that prequel, and just as redundant as it sounds.
Just as the title states, the movie is about the rise of the boy who will one day become The Rock in the next movie. The young Mathayus (Baby “The Rock”) witnesses his father’s murder by a magical black cloud (it was nice to see the Smoke Monster from Lost get a cameo) filled with black scorpions. He is enraged and vows to avenge his father’s death. Somehow he connects the black cloud of scorpion death, with the evil and atrociously acted Sargon.
Randy Couture of UFC fame tries his hand at acting here. Sargon is big, muscled, and has the emotion of wet cardboard. Every line of dialogue that comes out of Sargon’s mouth is said with the exact same tone and intonation as every other line of dialogue. Happy, angry, sad, confused, it’s all the same.
Young Mathayus grows up fast, and I mean fast. He goes from being a tiny little twerp to a fine hunk of man flesh that looked like he just stepped out of The O.C. in a matter of one tricky camera movement. He has become a member of the elite fighting commandos called the Black Scorpions. When he returns home he finds out that Sargon has killed the previous king and usurped the throne. He again vows revenge for his father’s death, but not until after he visits the king’s harem.
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Not exactly a film forecast of seven years of bad luck but most definitely a bad investment of at least seven bucks for a ticket at the box office - or whatever price gouging is currently in effect at your local theater these days - Mirrors has less to do with keeping you awake at night than struggling to stay awake during viewing. Mirrors is an endlessly dreary, disappointing remake of Korean director Sung-ho Kim's two-way mirror sort of horror spree, Into the Mirror - and an even more disappointing turn for French terror maven Alexandre Aja (The Hills Have Eyes, High Tension).
Kiefer Sutherland stars in Mirrors as Carson, a stressed out ex-cop and family man who signs on as a night shift security guard at a gutted department store that was the scene of a catastrophic deadly fire years ago. But far more dangerous than possible intruders invading the premises, are in-house supernatural troublemakers associated with all the creepy mirrors around the store. And we're not just talking the downside of those fitting rooms with suspicious looking-glass covert surveillance contraptions, where shopaholics tend to uneasily congregate to shed clothes.
There are lots of frightening ghostly creatures to reflect on in more ways than one in the movie, but too bad that little of it makes sense. Though a suspect nun with, well, evil habits keeps Kiefer on his toes for a bit. And Amy Smart as Carson's sister provides a brief distraction for incorrigible voyeurs on the lurid side in the audience, when she sheds her clothes in the john and makes an ill-advised decision to bathe despite all the lurking psychos under glass. Though she's no Janet Leigh.
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As pot comedies go, Pineapple Express is one of the best. It delivers several genuine laughs and doesn't rely (completely) on stoned reaction shots to get them. But considering that this pronouncement really only puts the film in higher standing than Dude, Where' s My Car? and various Cheech and Chong installments makes that statement looks less complimentary than one might hope for.
Yet another summertime widget of gleeful obscenity and disarming male vulnerability to come out of the Judd Apatow comedy factory -- Apatow had the original idea, while S uperbad's Seth Rogen and Evan Goldberg wrote the script -- Pineapple Express comes with high expectations, not all of which are dashed. While much of Apatow's previous work has focused on the perils of sex or the camaraderie of social outcasts, this film comes with more of a standard-issue plot that harkens back, mostly in unfortunate ways, to the action-comedy hybrids that ruled the multiplex back in the 1980s. Only this time, the main characters are stoned; cue fetishized shots of bulging baggies of ripe green buds, gigantic bongs (this film's piece d'resistance is called the Bong Mitzvah, hails from Tel Aviv, and proves useful in hand-to-hand combat), and a massive pot cultivation operation that shimmers in the characters' imaginations like El Dorado.
It's not to say that basing an entire film around the old Guy Witnesses a Murder scenario can't seem anything but hackneyed these days, but original it isn't. And so when schlubby pothead process server Dale (Rogen) inadvertently sees a gangster and his crooked cop partner (Gary Cole and Rosie Perez) gun a man down, he flails in panic and goes on the run, dragging along his perpetually stoned dealer Saul (James Franco). Rogen and Franco make for a genuinely engaging matched pair, particularly given their near-permanently addled states of mind. The real heart of the script is actually in the tight bond that the two develop, leading to several confrontations and heart-to-hearts that are as touching as they are willfully homoerotic. As in most buddy comedies, women are conspicuously absent here, and considering that Dale's girlfriend is actually still in high school (a funny and unexpected twist), this leaves more than the average share of comedic possibilities on the floor. But instead of playing around more with Dale and Saul's burgeoning friendship, the overlong script keeps circling back to their shambling escapes from danger and excessive gunplay.
The action and comedy mix has never been an easy one to manage, and unfortunately Pineapple Express fa ils in that respect almost completely. The problem is one of tone, and the film seems to get the mix right when Saul sees the first murder, a quick and brutal affair. But after that, as the arsenal of weaponry increases, and a subplot develops with a rival Asian gang, the whole affair practically turns into a bad action film. A lot of blame here can be leveled at the script, which doesn't trust its audience enough to think they won't be bored without all the violence.
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More like a masquerade party than an homage to an iconic 1960s television series, Get Smart the movie is a historically stale stroll down memory lane in title only. This contemporary gross-out fare in retro-espionage spoof clothing is more giggles than satirical grit, and simply lacks the comic punch and charisma, along with the pungent Cold War flavor of the times that energized the original.
Steve Carell, who is miscast through no fault of his own, does Don Adams' Agent Maxwell Smart as laid back and mostly reactive, as opposed to the late, great comedian's spunky and goofy caricatured US spy. The agency is still in covert warfare with the Russians, though what all that particular fuss is about in the 21st century is more of a mystery than the arms race issues at hand.
The former fatty Smart is turned down for a promotion to field agent even though he's watched his carbs diligently. But a brewing crisis gets him called up to duty with famed hottie with a pistol and a nifty lethal kiss, Agent 99 (Anne Hathaway). Posing as husband and wife, the pair embark on a mission to Russia, to track down Bosnian bad guys dabbling in a nuclear weapons enterprise.
While Smart is mostly preoccupied with fretting over calories, along with the the world situation and the ill-advised donning of boxer shorts while on duty, Agent 99 picks up the slack by neutralizing most of the villains. Including the foiling of a major subversive plot that has something to do with Beethoven's Ode To Joy.
It quickly becomes evident that there's a problem at hand beyond espionage dilemmas, when the funniest moments in the movie are Bill Murray gabbing covertly inside a tree trunk, and Smart singing the praises of the end of communism because now he's free to run over old ladies in the street. Or a mostly buffoonish Dwayne 'The Rock' Johnson stapling documents to assorted low IQ staff foreheads.
Too bad, Carell, you're no Don Adams or a nutty James Bond for that matter, however fine an actor you may be. And no need to be an espionage agent to figure out what went wrong here, did I mention those delightfully daffy MIA Get Smart creators, Buck Henry and Mel Brooks?
In today’s booming IT culture, for every woman, character is more important than her career. Journalist-turned-director Aathirajan has taken this serious theme and churned out ‘Silandhi’.
Monica, hitherto playing conservative girl in movies like ‘Azhagi’, has taken to glamour with ‘Silandhi’. She plays a newly-married girl, who runs for her life. Munna is cast as her lovable husband, who helps her overcome her troubles.
Though the first half lags as it simply revolves around two characters ( Munna and Monica), Aathirajan has made the second half more crispy and racy. The background score is yop-notch and it sets up the momentum. The dialogues in the latter part of the film deserve appreciation.
Fowzia’s cinematography and Sathish Kurasowa’s editing lends solidity to the film. Fowzia’s lens captures the runs and chases well and is equally complimented by the music composer’s thrilling background music.
Watch out for debutant Chandru, who plays a youth on revenge mode. He has carried himself well on the screen.
Munna and Monica visit a resort soon after their marriage. Monica encounters strange things and finds out a man is on her trail. A flashback reveals that three of her friends, who work for high salary in an IT firm, take to posh life style. They drink and booze and go for dates. They rag a LIC policy agent (Chandru).
In the melee, he suffers head injuries and dies. Monica, who stays away from the incidents, helps them clear the body. One after another the girls get killed. Did Monica escape form the climax.
Monica has acted well. But at many places, she oozes glamour aimed at enthralling youngsters. Munna has performed with calm and ease.
Though the movie could be enjoyed only in parts, congrats Aathirajan for dealing with an issue which is relevant to the society.
What is notable is creating an erotic mood without any vulgarity. And, it is a brave attempt by the director to break away from the conventional formula.
"Silandhi" is an experiment in new cinema reflecting the changing mores.
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"Pandi" is a typical mass masala. This film sees Sneha changing her simple girl next-door-image to a glam girl. She is forthright in her view that what ultimately matters is the box office. She has no compunctions in transforming herself. Her pairing with Lawrence Raghavendra is another highlight of the film.
Lawrence has made it as a choreographer and also directed a couple of films but as a actor he is not tested as yet. In "Pandi" he plays a weighty role with multi-dimensions _ comedy, romance, dance, sentiment, etc. What with an insipid story and a hackneyed formula, he is hard put to deliver.
Nasser is a dedicated school teacher and Saranya is his wife. They have three daughters and two sons -Sriman and younger Lawrence (Pandi). Lawrence grows up to be a delinquent and incurs the displeasure of his father. A strict disciplinarian, Nasser drives him out in a fit of rage. The eldest son Sriman, whom his father names to light the funeral pyre when he dies, runs away with Rs one lakh which his father had borrowed for his daughter's wedding.
Driven out from home, Lawrence gets reformed. With his father done in by a fellow teacher (Raj Kapoor) in his bid to become the headmaster, Lawrence takes on the responsibility of marrying off his sister and fulfilling the dream of his beloved mother to build a house. With these bjectives, Lawrence goes to Dubai and works as a sweeper. Unaware that his mother is dead, he returns to his native place, Usilampatti. He is shocked when the news that his mother also was murdered is broken to him. Now he is out to get at the villain (Raj Kapoor).
In the meantime, Lawrence is attracted to Sneha and their marriage is opposed tooth and nail by her father (Ilavarasu), a police inspector. The lovers defy Ilavarasu and marry. How Lawrence grapples with the ugly situations is the crux of the story.
Lawrence simply goes through the motions. He is not able to emote and fails to bring out the nuances of the hero character. His fighting with the villain, Raj Kapoor, in the climax deserves applause. Lawrence-Sneha bathroom scenes are imaginative though such scenes have become very common in Tamil cinema.
Sneha, as an educated, rich girl, steals the show. She proves a point that she is second to none in glamour by joining glam girl Namitha in an item number and her singing songs in glamorous costumes on the beaches and cities of Malaysia. She also does some comedy. Her puking twice on the face of Ganja Karuppu under the influence of locally made liquor brings the house down.
Nasser and Saranya bring their experiences to bear on their roles. They move the audience with sentiments and tears.
Ilavarasu's acting as the father of Sneha is natural. His presence at the wedding of his daughter with Lawrence as part of the police security is made to appear ironical.
Ganja Karuppu, Kumaresan and Mayilsami form the comedy team.
On the flip-side, Saranya's funeral scene is unnecessarily stretched to the point of vexing the audience. History sheeter Lawrence getting a visa to go to Dubai is illogical. A teacher killing a fellow teacher is unbelievable.
Srikanth Deva's music and Senthilkumar's camerawork keep up the momentum.
It is Sneha who salvages the film. See her in her new image!
Actor-turned-politician Vijaykanth predictably utters punch-lines galore in "Arasangam" (government), which can be interpreted by his fans as verbal brownie points scored against bigger political opponents. This Madhesh directed Tamil venture accords legislator Vijaykanth a free hand to exhibit his brains and brawn to get endorsement from rural audiences.
Vijaykanth plays 'Arivarasu' - a name that translates in English as 'monarch of intelligence' - heading a police training academy and living a nondescript, happily married existence. His wife is played by Punjab import Navneet Kaur.
Arivarasu is asked to solve the mystery behind the murder of important scientists and entrepreneurs who have created a path-breaking invention to help India and the kidnapping of a senior police officer, who is his brother-in-law Manoj (Biju Menon).
Instead of being another Rambo, Arivarasu uses his brain. He traipses around Canada where he is assisted by Lara, a Royal Canadian Mounted Police officer (Seril Brindo), rescues Manoj and extricates the nation's future from the baddies headed by Chandru (Rahul Dev).
Vijaykanth acts his age and puts in a spirited performance. The action is slickly choreographed by "Rocky" Rajesh.
In a word, "Arasangam" is a treat for diehard Vijaykanth fans thanks to a passably decent screenplay.
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Internal profile of a website (which is so-called On-Page Optimization) includes usage of meta tags, heading tags, keywords, targeted content, and internal linking of website. External profile of your website defines the websites that are linking to your website. It also defines the pages where your link is placed. Besides, it identifies the Page Ranking of those pages along with the placement of your link. And it also includes the number of inward links you are getting. Using the relevant keywords in anchor text gives a boost to rankings on the search engine result pages (SERPs). For more information on On-page optimization, please refer to our relevant posts in Da Gsense Code.
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After talking about the on-page optimization, here comes to off-page optimization. More often, webmasters only focus on on-page optimization, and neglect the presence of off-page optimization. In the world of internet, there are two kinds of links - External Links and Internal Links. External Links define the websites that are linking to your websiteInternal whereas Links refer to the internal linking of web pages. Getting links from other websites is the most powerful tool to drive traffic to your website. The results are instantaneous and highly effective. Getting links from quality websites with higher PR and proper anchor text definitely helps your site a lot and results in more fruitful traffic from search engines. Half the battle is won if you are able to provide the links in abundance. There are many tools available for automatically building links to your website. There are some link exchange directories on the net which are a good support in link building campaigns. However, the use of these support systems depend entirely on your beliefs and strategies. Proper inter-linking (that is intra-linking) of your web pages is also relevant and significant in driving traffic.
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It is important that you publish and post more and more articles on the net or article websites. This gives you an advantage as it gets incoming links to your website. Posting unique articles catering to the interest of a large number of readers is also an effective way of driving organic traffic to your website. Well written articles bring more traffic to your website. More traffic means more profit for you. It is observed that as the PR of your website increases, the AdSense payouts also increase. You can hope to get many more internal links to your website through this medium. Search engines take into account the number of quality back links while assigning rank to your website. If visitors reading your articles are interested, they will check out your website and you will have increased number of links. In comparison to the links that point to other websites from your website, the links that point to your website give more points to your rankings.
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Anchor Text refers to the clickable text of a hyperlink. Anchor Text plays an important role with regard to the target traffic as well as the search engine rankings. An appropriate Anchor Text apprises the visitors of the content of the page it links to.
Besides, Anchor Text gives a real clue to the search engines regarding the content of the web page it links to. The right Anchor Text improves your website's search engine ranking. That's why it's imperative to pick the Anchor Text astutely. Google reckons Anchor Text to be an indicator of the page relevance. Google, using its special operator "allinanchor:keyword", separately indexes the Anchor Text. Given below are some tips for choosing the right Anchor Text that suits the search engine algorithms, and attracts the right traffic.
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To a lesser extent, website tools makes your website user friendly. It is recommended that you make use of the tools that are visitor friendly. New scripts and innovative schemes for the visitor help you get more inward links. This in turn builds traffic to your website. You should add the tools that are attractive. For example, you can offer free e-books, or introduce new exciting sections relevant to your website. This will make your website exciting for the visitors. Google loves unique content. It richly rewards the websites that provide more content and better facilities to the visitors. Google likes genuine of traffic coming to your website from Ad Sense network. Genuine traffic yields higher payouts. Website tools make your website a genuine one. The credibility of your website increases the probability of your website getting high paying ads via Google.
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Movie: Nepali Cast: Bharath, Meera Jasmine Music : Srikanth Direction : V.Z.Durai
Karthik ( Bharath) is a software professional who meets Priya (Meera Jasmine) in Ooty. Soon they are in love and after her family objects, the love birds elope and get arried.
But soon she is killed by a police officer (Raja Ravendar)who is a sex- pervert and the blame falls on Karthik.
But our hero kills the officer, goes to jail to come out and turns into a vigilante who is on a killing spree targeting men who harass women at workplace! And after each murder, there is a (weird)voice on the clinical details of how the death happened with graphics!
A computer engineer is killed followed by a professor and a doctor. DCP Gautham (Prem) is on the trial, though the killer leaves a note about the time and hints about his next target. The film is full of blood and gore and we wonder how it escaped the censors even with an A certificate? Some of scenes that you puts you off are the scene in which Meera dies and the pervert police officer undressing at regular intervals!
Bharath who’s usually quite earnest, seems totally uninspired and is out of place as a guy determined to clean up the world! And in all honesty you can’t really blame him as the script lets him down. His three different get-up’s is nothing to write about as the make-up of a Nepali looks silly. Meera as the leading lady is plain dull and she looks like Bharath’s elder sister. There is no on-screen chemistry between the lead pair especially in that romantic song. Govind Namdeo is wasted while others are adequate. Television artist Prem impresses as ACP Gautham.
Nobody in this world sets out to make a bad film and the intention is always noble, but the execution is where they often fail. Still, when you see a film like Nepali, you can’t just stop wondering what Bharath was thinking, when he accepted to do this film?
There’s practically no originality as the director seems to be heavily influenced by the Quentin Tarantino style films with non-linear storyline with shades of Manmadhan and Ghajini. Srikanth Deva’s background score is a pain and the graphics look tacky.
On a positive side, the climax scene is good and cinematographer Madhi has captured the mood and atmosphere of the film giving it a slick look.
Cast : Jayam Ravi, Genelia Music Director : Devi Sri Prasad Director: M Raja Music: Devi Sri Prasad
Brother duo Jeyam Ravi and Raja know for remaking successful Telugu movies have continued to make it for Santhosh Subramaniam. A remake of Bommarillu isn’t just the words to describe it and you know something, Director Raja has made the exact replica of Telugu version to such an extent that even the costumes and its colors are the same. But that doesn’t matter when it comes to delighting the audiences with a great entertainer.
As of in general, this movie can be enjoyed by together with the family relaxing in your free time. The first thing that makes me sing appraisal of Raja is that he has never opted to remake the movies that is a senseless action packed thriller for more than 150mins. Santhosh Subramaniam as the title suggests, it is a movie centering on the relationship between father and son. Prakash Raj and Jayam Ravi playing the roles of father-son have breathed life on the characters...
Well, the one stealing the show over is Genelia who does an enchanting performance with the role of Hasini. Appearing on the role of a bubbly girl, she definitely gets your attention with the looks of girl-to-next-door.
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Yaradi nee mohini is the next new film of Dhanush after the super hit "Polladavan" and it’s an important film for Nayantara as well, her performance and glamour role in Billa is the talk of the town. Yaaradi Nee mogini is a remake of Telugu film Aadavari Matalaku Ardhale Verule directed by Selvaraghavan. Venkatesh and Trisha played the lead roles in Telugu. In Tamil Dhanush and nayanthara playing the lead roles. It’s a family subject with love, sentiments and action. The film releasing on Feb. Selvarghavan’s associate director Mitran R Jawahar making his debut as director through this film. Story / Screenplay and Dialogues by Selva. Dhanush home production house RK productions producing the film. Raghuvaran, Saranya, Sugumari and Manobala are in the star cast. Music is by yuvan shankar raja.