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Guru Granth Sahib
Composition, Arrangement & Layout
ਜਪੁ | Jup
ਸੋ ਦਰੁ | So Dar
ਸੋਹਿਲਾ | Sohilaa
ਰਾਗੁ ਸਿਰੀਰਾਗੁ | Raag Siree-Raag
Gurbani (14-53)
Ashtpadiyan (53-71)
Gurbani (71-74)
Pahre (74-78)
Chhant (78-81)
Vanjara (81-82)
Vaar Siri Raag (83-91)
Bhagat Bani (91-93)
ਰਾਗੁ ਮਾਝ | Raag Maajh
Gurbani (94-109)
Ashtpadi (109)
Ashtpadiyan (110-129)
Ashtpadi (129-130)
Ashtpadiyan (130-133)
Bara Maha (133-136)
Din Raen (136-137)
Vaar Maajh Ki (137-150)
ਰਾਗੁ ਗਉੜੀ | Raag Gauree
Gurbani (151-185)
Quartets/Couplets (185-220)
Ashtpadiyan (220-234)
Karhalei (234-235)
Ashtpadiyan (235-242)
Chhant (242-249)
Baavan Akhari (250-262)
Sukhmani (262-296)
Thittee (296-300)
Gauree kii Vaar (300-323)
Gurbani (323-330)
Ashtpadiyan (330-340)
Baavan Akhari (340-343)
Thintteen (343-344)
Vaar Kabir (344-345)
Bhagat Bani (345-346)
ਰਾਗੁ ਆਸਾ | Raag Aasaa
Gurbani (347-348)
Chaupaday (348-364)
Panchpadde (364-365)
Kaafee (365-409)
Aasaavaree (409-411)
Ashtpadiyan (411-432)
Patee (432-435)
Chhant (435-462)
Vaar Aasaa (462-475)
Bhagat Bani (475-488)
ਰਾਗੁ ਗੂਜਰੀ | Raag Goojaree
Gurbani (489-503)
Ashtpadiyan (503-508)
Vaar Gujari (508-517)
Vaar Gujari (517-526)
ਰਾਗੁ ਦੇਵਗੰਧਾਰੀ | Raag Dayv-Gandhaaree
Gurbani (527-536)
ਰਾਗੁ ਬਿਹਾਗੜਾ | Raag Bihaagraa
Gurbani (537-556)
Chhant (538-548)
Vaar Bihaagraa (548-556)
ਰਾਗੁ ਵਡਹੰਸ | Raag Wadhans
Gurbani (557-564)
Ashtpadiyan (564-565)
Chhant (565-575)
Ghoriaan (575-578)
Alaahaniiaa (578-582)
Vaar Wadhans (582-594)
ਰਾਗੁ ਸੋਰਠਿ | Raag Sorath
Gurbani (595-634)
Asatpadhiya (634-642)
Vaar Sorath (642-659)
ਰਾਗੁ ਧਨਾਸਰੀ | Raag Dhanasaree
Gurbani (660-685)
Astpadhiya (685-687)
Chhant (687-691)
Bhagat Bani (691-695)
ਰਾਗੁ ਜੈਤਸਰੀ | Raag Jaitsree
Gurbani (696-703)
Chhant (703-705)
Vaar Jaitsaree (705-710)
Bhagat Bani (710)
ਰਾਗੁ ਟੋਡੀ | Raag Todee
ਰਾਗੁ ਬੈਰਾੜੀ | Raag Bairaaree
ਰਾਗੁ ਤਿਲੰਗ | Raag Tilang
Gurbani (721-727)
Bhagat Bani (727)
ਰਾਗੁ ਸੂਹੀ | Raag Suhi
Gurbani (728-750)
Ashtpadiyan (750-761)
Kaafee (761-762)
Suchajee (762)
Gunvantee (763)
Chhant (763-785)
Vaar Soohee (785-792)
Bhagat Bani (792-794)
ਰਾਗੁ ਬਿਲਾਵਲੁ | Raag Bilaaval
Gurbani (795-831)
Ashtpadiyan (831-838)
Thitteen (838-840)
Vaar Sat (841-843)
Chhant (843-848)
Vaar Bilaaval (849-855)
Bhagat Bani (855-858)
ਰਾਗੁ ਗੋਂਡ | Raag Gond
Gurbani (859-869)
Ashtpadiyan (869)
Bhagat Bani (870-875)
ਰਾਗੁ ਰਾਮਕਲੀ | Raag Ramkalee
Ashtpadiyan (902-916)
Gurbani (876-902)
Anand (917-922)
Sadd (923-924)
Chhant (924-929)
Dakhnee (929-938)
Sidh Gosat (938-946)
Vaar Ramkalee (947-968)
ਰਾਗੁ ਨਟ ਨਾਰਾਇਨ | Raag Nat Narayan
Gurbani (975-980)
Ashtpadiyan (980-983)
ਰਾਗੁ ਮਾਲੀ ਗਉੜਾ | Raag Maalee Gauraa
Gurbani (984-988)
Bhagat Bani (988)
ਰਾਗੁ ਮਾਰੂ | Raag Maaroo
Gurbani (889-1008)
Ashtpadiyan (1008-1014)
Kaafee (1014-1016)
Ashtpadiyan (1016-1019)
Anjulian (1019-1020)
Solhe (1020-1033)
Dakhni (1033-1043)
ਰਾਗੁ ਤੁਖਾਰੀ | Raag Tukhaari
Bara Maha (1107-1110)
Chhant (1110-1117)
ਰਾਗੁ ਕੇਦਾਰਾ | Raag Kedara
Gurbani (1118-1123)
Bhagat Bani (1123-1124)
ਰਾਗੁ ਭੈਰਉ | Raag Bhairo
Gurbani (1125-1152)
Partaal (1153)
Ashtpadiyan (1153-1167)
ਰਾਗੁ ਬਸੰਤੁ | Raag Basant
Gurbani (1168-1187)
Ashtpadiyan (1187-1193)
Vaar Basant (1193-1196)
ਰਾਗੁ ਸਾਰਗ | Raag Saarag
Gurbani (1197-1200)
Partaal (1200-1231)
Ashtpadiyan (1232-1236)
Chhant (1236-1237)
Vaar Saarang (1237-1253)
ਰਾਗੁ ਮਲਾਰ | Raag Malaar
Gurbani (1254-1293)
Partaal (1265-1273)
Ashtpadiyan (1273-1278)
Chhant (1278)
Vaar Malaar (1278-91)
Bhagat Bani (1292-93)
ਰਾਗੁ ਕਾਨੜਾ | Raag Kaanraa
Gurbani (1294-96)
Partaal (1296-1318)
Ashtpadiyan (1308-1312)
Chhant (1312)
Vaar Kaanraa
Bhagat Bani (1318)
ਰਾਗੁ ਕਲਿਆਨ | Raag Kalyaan
Gurbani (1319-23)
Ashtpadiyan (1323-26)
ਰਾਗੁ ਪ੍ਰਭਾਤੀ | Raag Prabhaatee
Gurbani (1327-1341)
Ashtpadiyan (1342-51)
ਰਾਗੁ ਜੈਜਾਵੰਤੀ | Raag Jaijaiwanti
Gurbani (1352-53)
Salok | Gatha | Phunahe | Chaubole | Swayiye
Sehskritee Mahala 1
Sehskritee Mahala 5
Gaathaa Mahala 5
Phunhay Mahala 5
Chaubolae Mahala 5
Shaloks Bhagat Kabir
Shaloks Sheikh Farid
Swaiyyae Mahala 5
Swaiyyae in Praise of Gurus
Shaloks in Addition To Vaars
Shalok Ninth Mehl
Mundavanee Mehl 5
ਰਾਗ ਮਾਲਾ, Raag Maalaa
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Theatre, Movies & Cinema
Ashdoc's Movie Review---rocky Handsome
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<blockquote data-quote="ashdoc" data-source="post: 206645" data-attributes="member: 15932"><p>The film revolves around the John Abraham playing the title role and taking on the drug mafia which has taken on a new business---that of dealing with the vital organs of human bodies . The mafia have taken away a little girl ( Diya ) who wants to share a special bond with him....she has been taken away because the mafia wants to harvest her body for her eyes , as punishment for her mother ( Nathalia Kaur ) having stolen a consignment of drugs from them along with her boyfriend . </p><p></p><p>John plays a person with a tragic past , for he was an intelligence officer who lost his wife ( Shruti Hassan ) in the war on drugs....and the tragedy of his past puts a permanently brooding expression on his face , to the extent that his brooding expression hampers the action sequences in the first half---he looks too brooding to look confident enough to deliver the blows and punches . And his brooding nature prevents Diya from forming the bond which she wants to make with him---while she looks up to him as a father figure who can stand by her while her mother is hooked on to drugs , he is too lost in his own troubles to respond to her .</p><p></p><p>It is left to the women to make the first half interesting ; while wife Shruti Hassan looks beautiful in exposing clothes like mini skirts , Diya's mother Nathalia Kaur gives us the hots by dancing to sizzling item numbers . Also looking hot is female dancer Nora Fatehi in dance numbers . So what about 'action Abraham' ? When is he going to deliver the action we want ?</p><p></p><p>It is only after the little girl is kidnapped that 'action Abraham' wakes up from his slumber of brooding and puts some expression on his face and delivers the kicks and the punches . And post interval he comes on to his own---first he shows off his awesome body in all it's glory to us , rippling muscles and all....and he begins to smash hard blows on his enemies....</p><p></p><p>The enemies are played by director Nishikant Kamat himself and Teddy Maurya , and they are not easy to catch....and so a cat and mouse game begins interspersed by some hard fighting . The police are not far behind , and mayhem erupts between John and the mafia and the police ; mayhem that goes on to nearly the climax .</p><p></p><p>But it is the emotional bonding between John and the little girl that steals your heart , as John finally shows real emotion to break all hell loose in order to get back the girl . And it is the emotion that finally forms the core of the climax , and it is emotion that triumphs when all the action is over....</p><p></p><p>Songs and music is decent but photography of the natural beauty and beaches of Goa is not shown ; it is on the sleazy side of the state that the director concentrates---that of the drugs and the trade in human body parts . Acting is okay by everyone though nothing special about the performances . </p><p></p><p>Verdict---two and a half stars .</p></blockquote><p></p>
[QUOTE="ashdoc, post: 206645, member: 15932"] The film revolves around the John Abraham playing the title role and taking on the drug mafia which has taken on a new business---that of dealing with the vital organs of human bodies . The mafia have taken away a little girl ( Diya ) who wants to share a special bond with him....she has been taken away because the mafia wants to harvest her body for her eyes , as punishment for her mother ( Nathalia Kaur ) having stolen a consignment of drugs from them along with her boyfriend . John plays a person with a tragic past , for he was an intelligence officer who lost his wife ( Shruti Hassan ) in the war on drugs....and the tragedy of his past puts a permanently brooding expression on his face , to the extent that his brooding expression hampers the action sequences in the first half---he looks too brooding to look confident enough to deliver the blows and punches . And his brooding nature prevents Diya from forming the bond which she wants to make with him---while she looks up to him as a father figure who can stand by her while her mother is hooked on to drugs , he is too lost in his own troubles to respond to her . It is left to the women to make the first half interesting ; while wife Shruti Hassan looks beautiful in exposing clothes like mini skirts , Diya's mother Nathalia Kaur gives us the hots by dancing to sizzling item numbers . Also looking hot is female dancer Nora Fatehi in dance numbers . So what about 'action Abraham' ? When is he going to deliver the action we want ? It is only after the little girl is kidnapped that 'action Abraham' wakes up from his slumber of brooding and puts some expression on his face and delivers the kicks and the punches . And post interval he comes on to his own---first he shows off his awesome body in all it's glory to us , rippling muscles and all....and he begins to smash hard blows on his enemies.... The enemies are played by director Nishikant Kamat himself and Teddy Maurya , and they are not easy to catch....and so a cat and mouse game begins interspersed by some hard fighting . The police are not far behind , and mayhem erupts between John and the mafia and the police ; mayhem that goes on to nearly the climax . But it is the emotional bonding between John and the little girl that steals your heart , as John finally shows real emotion to break all hell loose in order to get back the girl . And it is the emotion that finally forms the core of the climax , and it is emotion that triumphs when all the action is over.... Songs and music is decent but photography of the natural beauty and beaches of Goa is not shown ; it is on the sleazy side of the state that the director concentrates---that of the drugs and the trade in human body parts . Acting is okay by everyone though nothing special about the performances . Verdict---two and a half stars . [/QUOTE]
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Ashdoc's Movie Review---rocky Handsome
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