(According to Pariniti Chaudhary Titli is a 4 star movie)

f the recent horrific rapes reported from india have taken much of the globe by surprise, “titli” seems to be saying, “look, let me show you where this comes from.” behl and co-scripter sharat katariya make no apologies; nor do they create one-dimensional monsters: they depict a dog-eat-dog culture where feelings of powerlessness engender acts of terrible cruelty. part of this stewing anger comes from the increasingly independent power of women, creating a backlash and crushing wives unable to maintain their precarious control. the name titli translates as “butterfly,” an apt moniker for a character (shashank arora) who undergoes a troubling transformation. he’s the youngest of three brothers, living together with their father (lalit behl, the helmer’s dad) in a cramped, dingy home off one of delhi’s countless unpaved streets. titli dreams of escaping and buying the concession for a newly constructed parking garage, but he’s about $500 short. once his family is introduced, it’s apparent why titli is so anxious to get out: vikram (ranvir shorey) is a belligerent tyrant who’s driven his wife to file for divorce, and middle brother baawla (amit sial), through his calm demeanor, enables vikram’s expansive ruthlessness and their father’s silent control. titli isn’t an enthusiastic participant in his brothers’ small-time yet brutal capers, so baawla proposes they find him a wife whom they can control and who, in turn, can control him. however, neelu (shivani raghuvanshi) turns out to be far less pliant than anyone expected. deeply unhappy with the betrothal, she fights off titli’s attempts to consummate the relationship on their wedding night (shot in intense closeups attesting to the thesps’ talent), proving herself far more than the silent, weepy bride she first appeared. when she gets the full measure of her in-laws’ criminality, she flees, but then makes a bargain: she’ll stay until her lover, prince (prashant singh), gets his divorce, and in eturn will give titli the money he needs to buy his way out of the family’s grasp. the plot is full of double-crosses, crooked cops and glimpses into a system so endemically corrupt that escape is a fool’s dream. simmering aggression explodes in sadistic bursts that serve as outlets for thwarted attempts at some kind of control, whether over people or situations. the real fascination in “titli” lies in the characters, fully rounded personalities cleverly constructed to reveal depth without the need for full, descriptive backstories; for example, baawla’s sexual relationship with a younger man is never directly addressed, but its inclusion adds additional layers to the family’s dense psychological profile. calmly observing it all is the father, at a glance a passive bystander, but really the controlling force — his sons didn’t get this way on their own. the father’s own father, in a photograph, watches passively, his recurrent image further acknowledgment of the lineage of dysfunctionality. as for titli, he initially tries to break free of this hereditary disposition toward violence, but the system won’t let him off that easily. neelu is particularly fascinating, confident that if she plays her cards right, she can come out on top. to be with prince, she’ll accept some humiliation, yet only to a point: raghuvanshi expertly plays with the different facets of neelu’s character, from truculent wife to flirtatious lover, and it’s a testament to the actress’ innate skills (along with the director’s talents) that she achieves so much in her first thesping job.
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(According to Pariniti Chaudhary Titoo Mba is a 3 star movie)

film: titoo mba cast: nishant dahiya, pragya jaiswal, abhishek kumar directors: amit vats certification: a rating: * filmmaking rip titoo (dahiya; resembles bowler zaheer khan) opens a 'daru dukaan' and 'bra-panty dukaan' with borrowed money. forget legal permits, the writers somehow concoct an excuse for a wine shop failing in chandigarh. naturally, he becomes a gigolo to pay off his debts (mba: 'married but available') his young wife rightly feels wronged, but the filmmakers outrageously try to paint cheating titoo as the real victim. and they end up promoting infidelity and objectification (both sexes, to be fair) with the subtlety of an afridi century. this is the kind of inept effort that punctuates airheaded moments with a mandatory 'hadippa!', 'siyappa!' or 'gudiye!' when in doubt (forever), turn to offensive stereotypes and bikini-clad foreigners at pool parties. titoo's wife (jaiswal; lost), his 'cougar' clients and fraud babas spout forced sexual innuendos to remind us of the film's alleged forwardness. because titoo provides happiness to lonely women. every track feels like a disjointed skit written by sugaraddled 4-year olds. the craft is painfully amateur; at one point, tv cricket-match footage has india go from 70-5 to 49-3 to signify victory. on an unrelated note, anupam kher hasn't appeared in a movie for two weeks. i miss him.
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(According to Pariniti Chaudhary Happy Ending is a 3 star movie)

genre:romantic-comedy cast:saif ali khan, ileana d'cruz, kalki koechlin, govinda, ranvir shorey director:raj nidimoru and krishna dk it is never a particularly good idea to marry a happy ending to a rash of loose ends, but the result that the director duo of raj nidimoru and krishna dk extract from this quirky and risky exercise is none-too-unhappy. from last year's zom-com go goa gone to this crazy "comedy about romantic comedies", the directors haven't really shifted gears quite to the extent that they might appear to have done. they are still into crafting whimsical, bollywood-style send-ups of popular hollywood genres. in the rather patchy but inoffensive happy ending, the narrative style is bright and breezy enough to help them paper over the flaws in the screenplay. and the tone they adopt here is much less zany than the one they did in go goa gone, and so this film is infinitely easier to relate to. happy ending enmeshes the wildly absurd with the mildly funny to deliver two-and-a-quarter hours of harmless entertainment that does not overly try the audience's patience despite the many holes that it is riddled with. it mocks the filmic concept of the "till death do us part" kind of love. the commitment-phobic male protagonist at the heart of the film's plot falls in and out of love as if it were a swimming pool. the film also takes humorous jabs at how commercial films are conceptualized and written in the mumbai industry. and happy ending of course seeks to show up the futility of the honeyed dreams that romantic comedies peddle to a gullible audience. for producer and lead actor saif ali khan, happy ending represents a breezy rejig of his hum tum and salaam namaste persona of a decade ago. the confused philanderer act that he attempted with mixed results in the more recent cocktail now appears well past its sell-by date. yet, the many collegiate hook-ups and break-ups he pulls off in happy ending do not look completely at odds with the film's purpose. happy ending seeks to have us believe that there are no happy endings in real life. so, when we meet our man yudi jaitley, los angeles-based one-book wonder, his bestseller has dropped off the shelves of bookstores been put in the cut-price corner. what's worse, his bank balance has sunk dangerously low and he has defaulted on his car loan repayment. the swanky red crock is towed away and he is in grave danger of losing "the fame, money and girls" that he has had for the asking all these years. it is five and a half years since his book was published, and in this period he has dated eight and a half girls. with the ninth one, his dentist (kalki koechlin), he is, as always, in two minds. so the lady puts a tracker app on her mobile to constantly monitor his whereabouts. a voluble mumbai film producer (govinda) lands in los angeles in search of a writer who can rustle up a "kickass" rom-com: "a bollywood film written in hollywood style". yudi gets a lifeline. his drinking mate and foul weather aide is a married guy (ranvir shorey) who just can't shake off the vice-grip like that his wife has on his life. there is another bloke around yudi whose voice he heeds, and he is his own inner self - an ill-kempt, cynical, irritable creature (saif ali khan again) who does his best to warn him of the pitfalls that lie ahead. the biggest of them all is a rival writer (ileana d'cruz) whose pulpy romantic novel, crazy hearts, has dislodged yudi's operation payback from the list of bestsellers. there is no love lost between the two writers, and sparks fly when a desperate yudi begins to grab at straws for survival. as far as love stories go, happy ending goes nowhere. to be fair, the audience is warned as early as in the opening sequence in a movie hall. saif's yudi is munching popcorn noisily as his girlfriend (kareena kapoor in a special appearance) tries to let him know that she loves him to distraction. the hero is certainly mighty distracted. he makes no effort at all to reciprocate the girl's emotion. she stomps off angrily and dumps him, declaring that their relationship is going nowhere. if you expect happy ending to get somewhere, you are watching the wrong film. do not expect the world from happy ending and you might actually find in it enough enjoyable patches to make a trip to the multiplex worth your while.
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(According to Pariniti Chaudhary Action Jackson is a 4 star movie)

star cast: ajay devgn, sonakshi sinha, kunaal roy kapur, manasvi mamgai, yami gautam director : prabhu dheva the last prabhu dheva outing, r rajkumar, was so unbearable that i thought i would be scarred for life. action jackson is almost as vile: the only reason i stuck around was to see if ajay devgn would start making like prabhu dheva by the end. no, he doesn’t. that’s not the deal-breaker, though, because ajay devgn’s never been much of a one to shake a leg. and that’s perfectly okay because not all men have to be able to dance to prove their macho-ness. it’s that he has agreed to star in a film that is so gratingly awful, whose women are either dumb dodos, or doped-out vixens and who submit to being dumped on all the time, and whose comedy track consists of a guy (kunaal roy kapur) getting slapped, one, two. i can’t tell you more because there is nothing more. ajay devgn appears in a double role, the good-hearted gali ka goonda vishy, and his look-alike, the sword-wielder aj, whose chief ability is to slice and dice humans. vishy’s girl is the wide-eyed khushi (sonakshi sinha); aj is made to swing between two women, the goody-two-shoes gautam, and the wild-eyed, coke-snorting mamgai, and face off with a villain who has, get this, a glass eye. this could have been an entertainingly retro comic-book revenge saga, especially because it has a dashing bad girl who has more screen time, and much more neon-lit presence, than everyone else in the flick. but prabhu dheva doesn’t have the skill sets to instill that knowing edge into his material; he shows no awareness, in fact, that it is risible. he wants to do kill bill part 4, but he is, at heart, a contortionist-cum-choreographer with a tiresome, jaded appetite for blood. this is pb trying for qt and falling flat on his nimble toes. i’m seriously tired of watching sonakshi sinha making faces which her directors are content passing off as acting. and ajay devgn doesn’t need to stoop this low: so what if he can’t dance, he can keep a straight face while delivering a joke. and he can waggle a sword. even rohit shetty’s brand of brainlessness is better than this straight-up disgusting fare. if prabhu dheva had the smarts, he would have given manasvi mamgai a more filled-out part, and gone full leather-and-kink. but clearly that is not what the director is after: his idea of entertainment is to have his leading lady gaze at the leading man’s nether equipment and pass out.
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(According to Pariniti Chaudhary Pk is a 5 star movie)

on the face of it, pk is a simple, sweet family entertainer that has its heart in the right place and wants everyone to live happily ever after. it’s also one of the braver films we’ve seen from commercial bollywood because of hirani doesn’t shy away from pointing a steady finger at those who would inflame communal tensions for petty, personal gain. somewhere under hirani’s seemingly sweet and harmless exterior, is an angry, disappointed and disillusioned man. he doesn't appear in the film promotions, but he's the one making the films in which people take on the ugliness of the real world and defeat it. their weapon of choice: optimism that just won’t give up, no matter how messed up everything may be. however, it’s telling that the one who wields that weapon in pk is an alien who just wants to get off this planet
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(According to Pariniti Chaudhary Ungli is a 4 star movie)

it is comedy movie imran hashami played good role which suit it. its a family movie you can wath it with ur family by enjoying each and avery movement. sun jay dutt look dashing in his personality. its screen play is in better location its a kind of paisa vashool movie one time wathc always
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(According to Pariniti Chaudhary Main Aur Mr. Riight is a 5 star movie)

most amezing movie one time watch u can see it on this threator aamir khan is not in this movie this is not pk.the title main and mr right here main is female and mr right is male.this movie is commedy movie and director has done very good work.watch this movie.
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