The Boy (U/A) 

 

 Story

Greta (Cohan), a young woman from Montana, escapes an abusive relationship by getting a temporary job as a nanny for the British Heelshire family. Upon arrival to the United Kingdom and the Heelshire residence, Greta introduces herself to Mr. and Mrs. Heelshire (Norton and Hardcastle) before meeting the elderly couple's young son, Brahms.

To Greta's surprise and amusement, Brahms is a porcelain doll, treated like a living child by his "parents." The real Brahms perished in a fire back in 1991, at the age of eight. Mrs. Heelshire, referring to the porcelain doll, states that Brahms has met "many nannies," all of whom were "rejected." Before the Heelshires leave on holiday, they give Greta a list of rules to follow, warning that Brahms is not a normal child.

Initially, Greta follows a relatively normal routine, choosing to ignore the rules set in place for Brahms. She regularly calls her sister, Sandy, and befriends the Heelshire's flirtatious grocery boy, Malcolm (Evans). Soon after Greta's refusal to follow Brahms' rules, strange things begin to happen--a child's sobs are heard in the hallways, phone calls are cut off and Brahms seems to move on his own, vanishing before reappearing in other sections of the house. After Greta is locked in the attic by an unseen force and served a peanut-butter-and-jelly sandwich outside her door, she begins to believe that Brahms' spirit lives on in the doll. Meanwhile, the Heelshires are seen on a coastline writing a good-bye letter to Brahms and filling their pockets with rocks before committing suicide by drowning.

After Greta demonstrates Brahms' ability to move by himself, Malcolm begins to frequent the house. He informs Greta that the real Brahms was friends with a young girl about his age, who disappeared after a playdate with him in the forest. The girl's body was later found with her skull crushed. Malcolm warns Greta not to stay in the house, but Greta, having previously suffered a miscarriage, feels obligated to care for Brahms and begins to follow his rules.

One evening, Greta discovers ex-boyfriend Cole (Robson) playing pool in the Heelshire's home. Cole, having tracked Greta, is determined to bring her home. He becomes angered by the appearance of a message written in blood, presuming that Greta wrote it to scare him away. After a brief fight with Greta and Malcolm, Cole destroys the porcelain Brahms, and the house begins to shake. An adult human Brahms crawls through a shattered mirror, wearing a mask identical to the doll's face.

Brahms immediately attacks the group, killing Cole and pursuing Greta and Malcolm through the house. Greta flees the house at Malcolm's urging, but feels guilty for abandoning him and returns. In the attic, she finds photos of Brahms' childhood friend, and discovers a room with a mannequin wearing her dress and jewelry. Greta realizes that Brahms has been alive all along, moving the porcelain doll through the house, stealing her possessions, and watching her every move. The Heelshires, presumably held hostage by their son, offered Greta (and the nannies before her) as a form of sacrifice to Brahms for "his keeping."

Greta uses Brahms' own rules against him when she confronts him, demanding that he go to sleep. After Brahms enters his bed, he tries to pull Greta in for his "good night kiss". Greta stabs and apparently kills him. She then escapes, rescuing Malcolm and leaving the Heelshire estate gate open behind her.

The film cuts to a scene of the open gate and then to a hand putting the porcelain doll back together, implying that Brahms is still alive. The film ends with a final glimpse of the repaired doll's eyes.

 

The Witch

 'The Witch': Sundance Review

Robert Eggers' debut is a horror story set in a Puritan New England of nearly 400 years ago. 

A genuine curiosity to bubble up from the contemporary American independent film scene, The Witch aims to extract modern horror thrills from a story set in a meticulously re-created Puritan New England of nearly 400 years ago. In the event, the dedication exerted to render the mores, beliefs, speech patterns and way of life among radical Calvinists of the period proves more compelling than does the witchcraft-saturated story, which is pretty short on scares or surprises.
Writer-director Robert Eggers' debut feature impresses on several fronts, notably in the performances, historical feel and visual precision, but the overall effect is relatively subdued and muted, probably too much so for mainstream scare fans. With its novelty value and presumed enthusiastic critical support in some circles, however, cult status and nice returns in smartly judged specialized release look likely.

Suddenly and inexplicably, the baby vanishes. The disappearance is accompanied by obscurely shown nocturnal events, a full moon and dark shots of what looks like a hideous, naked old hag rubbing herself with something disgusting. A search for the infant proves fruitless and William tries to calm his inconsolable wife by stressing how lucky they've been, perhaps a reminder that, at the time, a mortality rate of one in five wasn't at all bad.
Still, the optimistic view doesn't stick. Their situation is plainly grim; on a hunt, the man's gun backfires in his face and he can't even shoot a rabbit, one that then menacingly keeps showing up thereafter. Their corn rations are meager, the trees are becoming bare, Kate's valued silver cup goes missing and Thomasin provokes little Mercy by telling her she's a witch, a gag that soon backfires.
More mysteriously, Caleb comes upon a strange dwelling from which emerges a voluptuous, flame-haired siren who kisses him. Unsurprisingly, he passes out. When he awakens, he's naked and essentially comatose. The family goat now produces blood rather than milk, and 'round-the-bend Mom morosely wishes she had never left England.
So now there are at least three potential witches, although as calamitous events escalate from a trickle to a flood and more Puritans meet their maker, it doesn't seem to much matter who the title character really is. The narrative becomes choppier and murkier as it progresses, but the increase in violence pushes the fright meter only marginally higher. The Witch is nowhere near as scary as what's considered de rigueur on the horror circuit these days, leaving the film in a sort of no man's land between a promising art film and a genuine scare-fest.

Still, Eggers creates a special feel and ambiance in his first feature after a couple of shorts. Shot in the wilds of northern Ontario, Canada, the film succeeds in creating a sense of complete isolation on a farm that looks very handmade, as do the unaffected costumes. The British-accented dialogue, which is filled with "thys" and "thees" and other less frequent forms of archaic address, possesses a credible otherness and a sense of plausible formality and religiosity (Eggers drew upon many period sources for his linguistic formulations). At the same time, the constant reminders of God's dominant presence in these people's lives is neatly undercut by Caleb's unavoidable obsession with catching glimpses of his older sister's emerging physical attributes.
Cinematographer Jarin Blaschke's clean, uncluttered compositions, which are resolutely autumnal in their low light levels, evince dedicated study of the masters. Mark Korven's score employs unusual instrumentation in combining 17th century musical motifs with contemporary electronic sounds to sometimes unnerving dissonant effect.
The casting and performances are also strong. Ineson is very effective as the supposed-to-be-in-command father who quickly loses any ability to protect his family under trying circumstances; Dickie's audible grief morphed into madness deliberately plays like fingernails on a blackboard; Taylor-Joy exhibits great self-possession, if that is the right word in the circumstances, as a would-be young witch; and young Scrimshaw makes Caleb by far the most ingratiating character to be around.
Production companies: Parts and Labor, RT Features, Rooks Nest Entertainment, Maiden Voyage Pictures, Mott Street Pictures
Cast: Anya Taylor-Joy, Ralph Ineson, Kate Dickie, Harvey Scrimshaw, Ellie Grainger, Lucas Dawson
Director: Robert Eggers
Screenwriter: Robert Eggers
Producers: Jay VanHoy, Lars Knudsen, Jodi Redmond, Daniel Beckerman, Rodrigo Teixeira
Executive producers: Lourenco Sant'Anna, Sophie Mas, Michael Sackler, Julia Godzinskaya, Chris Columbus, Eleanor Columbus, Alex Sagalchik, Alexandra Johnes, Jonathan Bronfman, Thomas Benski, Lucas Ochoa
Director of photography: Jarin Blaschke
Production designer: Craig Lathrop
Costume designer: Linda Muir
Editor: Louise Ford
Music: Mark Korven
Casting: Kharmel Cochrane, John Buchan, Jason Knight

 

 

Ghayal Once Again (U/A) 

Story

Ghayal Once Again (previously titled as Ghayal Returns) is an action drama film directed by Sunny Deol and produced by Dharmendra. It is the sequel to 1990 super-hit film Ghayal.

Ajay Mehra after finishing off his life sentence, starts a newspaper called Satyakam. Still dealing with the haunting trauma of losing his loved ones, Ajay manages to make a credible name for himself in investigative journalism.

Working with a strange team of RTI activists, ex-criminals and ilk; and even stranger ways of unearthing and presenting truth, Ajay Mehra has earned quite a fan following among the youths, who finds his fearless and unforgiving approach in dealing with all kinds of sociopaths very inspiring.

Among his die hard fans are these four teenagers who happened to have received bravery medals from him once. These four friends once out on photography expedition, accidentally record a murder on a camera. The footage turns out to be explosive as it clearly shows two of the city's most powerful peoples involved in the murder.

Well what happens after this is a series of twist and turns where the four kids get entangled and have to fight it out with the most powerful man of the city, will Ajay Mehra be able to save them? Will the kids be successful in their mission to stand by the truth only time will tell. 

Sunny Deol took 26 years to come out with a sequel for his 1990's hit movie Ghayal. Produced by Dharmendra, Sunny is back as Ajay Mehra in Ghayal Once Again and mind you, this movie is directed by Sunny Deol himself. Now, would you be interested to seeing a sequel of the movie which released 26 years ago? Even if you are interested, do you think this movie deserves a watch?

Cast: Sunny Deol, Om Puri, Shivam Patil, Aanchal Munjal, Soha Ali Khan, Narendra Jha, Manoj Joshi and Tisca Chopra Director: Sunny Deol Ghayal Once Again Plot: The story of Ghayal Once Again starts off where Ghayal had ended. Ajay Mehra (Sunny Deol) after spending 14 years in jail is back to fight corruption. The movie starts off with a climax scene from Ghayal when Sunny Deol kills Amrish Puri amidst police force and then surrenders, just to give a jist of the prequel to those viewers who would not have watched Ghayal. The concept of this movie is nice! Murder of ex cop, Joe D'Souza (Om Puri) who had arrested him in the prequel move gets killed by a big businessman's son, Kabir Bhansal (Abhilash Kumar) in the presence of Home Minister. This murder gets captured in video by 4 kids, Rohan (Shivam Patil), Zoya (Diana Khan), Anushka (Aanchal Munjal) and Varun (Rishab Arora) who had been recording bird footages on their trip. Rohan's father, a top lawyer surrenders the video to Raj Bhansal (Narendra Jha) whose kid committed the murder. Dejected college kids try to take matters in their own hand and give the back up copy of the video to Ajay Mehra to obtain justice. Sadly the calls are tapped by Raj who uses all his force, money, powers and swat team type bodygaurds to stop the video from getting leaked or aired on news channel. So this forms the crux of the movie and how Ajay helps the kids, does he manage to get the video footage forms the crux of the story. As mentioned before, the concept of the movie is good, and is not as bad as one would think it is. In a good way, this movie is not all about Sunny Deol and all the other cast members get equal importance and screen time, this makes the movie a lot bareable.

 

 

     Sanam Re 

 Story

 

 FUN 2016 

Story

Fan is a dram movie directed by Maneesh Sharma and featuring Shah Rukh Khan in the lead role. The film is produced by Aditya Chopra under the banner of Yash ...

Fan is a dram movie directed by Maneesh Sharma and featuring Shah Rukh Khan in the lead role. The film is produced by Aditya Chopra under the banner of Yash Raj Films.

Story in detail:
In a world of labels, it's easy to forget who made sportsmen, pop singers and matinee idols into stars, superstars and megastars - it's the fans Every fan has their own personal relationship with their hero - it's almost a love story.

Fan is the story of Gaurav (Shah Rukh Khan) a young man, 20 something, whose world revolves around the mega movie star Aryan Khanna (Shah Rukh Khan) or 'God' (as he refers to him).

From the by lanes of Delhi, young Gaurav embarks on a journey to the city of dreams- Mumbai, in order to wish his 'God' on his birthday. After all, he is Aryan's biggest 'FAN' and even has a striking resemblance to him! How difficult could it be for the world biggest fan to get an audience with the world's biggest star.

When things don't go according to plan, Gaurav's love and passion for his 'God' turns in to a dangerous obsession that crosses the fine line.

In an edge of the seat thriller, Fan will peel away at both Gaurav and Aryan's personalities and characters as the two men discover people within themselves that even they didn't know existed, and we're left wondering who to sympathize with and whom to root for - can we really pick a side? After all, superstars are also human beings, but, each one of us is also a 'Fan'.