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Felicitation of Dev Anand by the Indo-American Society Born Dharam Devdutt Pishorimal Anand ( 1923-09-26)26 September 1923,, (now in, ) Died 3 December 2011 ( 2011-12-03) (aged 88),, Residence,, Nationality Other names Dev Sahab Occupation Actor, producer, director, co-founder (1949) Years active 1946–2011 Height 5 ft 7 in (170 cm) Spouse(s) (m. 1954–2011; his death) Children 2; including Relatives See Awards (2001) Signature Dharam Devdutt Pishorimal Anand (26 September 1923 – 3 December 2011), known as Dev Anand, was an Indian,,,, and comedian known for his work in the history of. Contents • • • • • • • • • • • • • • • • • • • • • • Early life [ ] Dev was born Dharam Dev Anand on 26 September 1923 in the tehsil of the Gurdaspur district in. His father Pishori Lal Anand was a well-to-do advocate in Gurdaspur District Court.

Dev was the third of four sons born to Anand. One of Dev's younger sisters is Sheel Kanta Kapur, who is the mother of film director.

His older brothers were Manmohan Anand (Advocate, Gurdaspur Dist. Court) and and the younger one was.

He did his schooling till matriculation from Sacred Heart School, Dalhousie, (then in Punjab) and went to college in before going to to study. Later Dev completed a BA degree in from the in. Part of, he co-founded in 1949 with his elder brother Chetan Anand. Personal life [ ] Dev Anand had an intense emotional love affair with actress from 1948-1951, but it could not come to the marriage altar, because of great opposition by Suraiya's maternal grandmother. Remained unmarried throughout her life till she died on 31 January 2004. In 1954, Dev married (actual name Mona Singha), a Bollywood actress from Shimla, in a very private marriage during the shooting of the film 'Taxi Driver'.

Kartik was Christian. They have two children, Suneil Anand, who is unmarried and Devina Anand (Narang). Devina married in 1985, but was divorced a few years later. Devina has a daughter, Gina (Narang) (born 1986), who is married to a fashion stylist, Prayag Menon. Gina is a professional photographer. Career [ ] After completing his BA degree in English Literature from the (then in, now in ), Dev Anand left his home-town for in the early 1940s. He began his career in the military censor's office at Churchgate, for a monthly salary of 165.

Later he joined as a clerk in an accounting firm for a salary of Rs. He joined his older brother, Chetan, as a member of the Indian People's Theatre Association (IPTA). Dev Anand aspired to become a performer after seeing Ashok Kumar's performance in films like and.

Dev Anand quoted in an interview that 'I remember when I gate-crashed into the office of the man who gave me the first break, he kept looking at me – Babu Rao Pai of Prabhat Film Studios. At that time he made up his mind that this boy deserves a break and later mentioned to his people that ‘this boy struck me because of his smile and beautiful eyes and his tremendous confidence.' ' Then he was soon offered the lead role in ' Hum Ek Hain (1946), a film about Hindu-Muslim unity, where Dev Anand played a Hindu boy and was paired opposite. While shooting the film in, Anand befriended the actor.

Between them, they agreed that if one of them were to become successful in the film industry, he would help the other also to be successful. They formed a mutual understanding that when Anand produced a film, Dutt would direct it and when Dutt directed a film, Anand would act in it. Late 1940s and romance with Suraiya [ ] In the late 1940s, Anand was offered a few roles starring as the male lead opposite singer-actress in woman-oriented films. He considered himself to be very lucky to get a chance to star opposite such an established actress and accepted the offers. While shooting these films, they became romantically involved.

The two of them were paired in seven films together: (1948), (1949), (1949), (1950), (1950), Do Sitare (1951) and (1951), all of which were successful at the box office. In these films, Suraiya was always first-biller in the credits, indicating that she was a bigger star than Anand. She fell in love with him during the shooting of the song Kinare kinare chale jayen ge from the film — while shooting the scene, the boat they were in capsized, and Anand saved Suraiya from drowning. Initially, Suraiya's family used to welcome Dev Anand at home, but when her maternal grandmother found out that the two were in love, and even planned an actual marriage on the set of 'Jeet', she started monitoring them. The two shared love letters and messages through their co-actors, like Durga Khote and Kamini Kaushal, who went out of their way to engineer secret rendezvous. During the shooting of the film 'Afsar' (1950), Anand finally proposed to Suraiya and gave her a diamond ring worth Rs 3,000.

Her maternal grandmother opposed the relationship as they were Muslim and Anand was Hindu, and so, Suraiya remained unmarried. They stopped acting together after her grandmother opposed their partnership, and 'Do Sitare' was the last film in which they appeared together. Although the films he starred in with Suraiya had been successful, the producers and directors of those films attributed their success to the acting prowess and screen presence of Suraiya. Anand began looking for an opportunity to play the main male lead in a film where his acting skills could be demonstrated, so as to dispel scepticism about his acting abilities. Dev Anand often spoke about Suraiya and his love affair with her, in various interviews he gave to film magazines, like 'Star Dust' (June 1972 issue), 'Star & Style' (Feb 1987 issue) and TV to Karan Thapar for BBC (2002), while both were alive, and after Suraiya's death in interviews given on TV to Simi Garewal ('Rendezvouz with Simi Garewal') and others on TV and for news magazines. Break and the 1950s [ ] Anand was offered his first big break. He spotted Anand hanging around in the studios and picked him as the hero for the production (1948), co-starring, which became an instant success.

After Ziddi's success, Anand decided that he would start producing films. It was in the film Ziddi, where the first ever Kishore-Lata duet, Yeh Kaun Aaya Karke Yeh Sola Singhar, was recorded. This duet was an instant hit, and from here on both playback singers' associations with Dev Anand began. This continued for the next four decades. His association with Kishore Kumar started when the former sang the first solo of his playback singing career – Marne Ki Duayen – picturised on Dev Anand in the movie Ziddi. Dev had forged a very strong bond of friendship with during the making of the film.

In 1949, he launched his own company (named after his elder brother Chetan's son Ketan and which means 'New Banner'), which, as of 2011, has produced 35 films. Dev chose as director for the crime thriller, (1951). The film, starring Dev Anand, Geeta Bali and Kalpana Kartik was a trendsetter, regarded as the forerunner of the spate of urban crime films that followed in Bollywood in the 1950s.

The film Baazi saw the debut of (aka Mona Singha) as the lead female actress and as a director. The collaboration was a success at the box office and the duo of Dev Anand and Kalpana Kartik were offered many films to star in together. They signed all the film offers and subsequently the movies (1952), (1954), (1955) and (1957) went on to become big hits too. During the making of the film Taxi Driver, the couple fell in love and Dev proposed marriage to his heroine Kalpana.

In 1954, Taxi Driver was declared a hit and the two decided to marry in a quiet ceremony. The couple had a son, in 1956 and later a daughter, Devina, was born. After her marriage, Kalpana decided not to pursue her acting career further. Was the couple's last movie together. A rapid-fire style of dialogue delivery and a penchant for nodding while speaking became Dev's style in films like (1955), (1956), (1955), (1956), (1956) and (1957). In the 1950s his films were of the mystery genre or light comedy love stories or were films with social relevance like (1959) and (1956). His style was lapped up by the audience and was widely imitated.

He starred in a string of box office successes for the remainder of the 1950s opposite newcomer in (1956), (1958), (1960) and (1962). Waheeda first became a star when C.I.D became a hit. The pair acted in Roop Ki Rani Choron Ka Raja (1961 film) and Prem Pujari later.

In 1955 he also co-starred with in. With his acting in (1958), as the son who is willing to go to any lengths to clear his framed father's name, he won his first Filmfare award for Best Actor for the film. He attempted films of tragic genre occasionally like (1956), (1958), (1960) and Sharabi (1964) and tasted success with them. Dev also played a few characters with a negative shade, like in Jaal (1952) where he played a smuggler, then as an absconding gang member in Dushman, and as a black marketer in. Apart from his pairing with and, his pairing with and was popular among the audiences in the late 50’s and 60’s.

His films (1952) and (1952), were screened along with 's. From the early fifties till mid sixties, the trio of, and Dev Anand ruled the roost. Romantic hero image in the 1960s [ ] In the sixties, Dev Anand acquired a romantic image with films like and with Nutan, Kinaare Kinaare with, with, with, and with and opposite three heroines, and. In the film, Dev Anand played a playboy. His first colour film, with was based on the novel of the same name. Dev Anand himself was the impetus for making the film version of the book. He met and persuaded Narayan to give his assent to the project.

Dev Anand tapped his friends in Hollywood to launch an Indo-US co-production that was shot in Hindi and simultaneously and was released in 1965., directed by younger brother Vijay Anand, was an acclaimed movie. Dev played Raju, a voluble guide, who supports Rosy (Waheeda) in her bid for freedom. He is not above thoughtlessly exploiting her for personal gains. Combining style with substance, he gave an affecting performance as a man grappling with his emotions in his passage through love, shame and salvation.

He reunited with Vijay Anand for the movie, based on the thriller genre which featured,,, and and was very successful. Their next collaboration, (1970), again a thriller, in which Dev was paired opposite was a big hit. It was Johnny Mera Naam which made Hema Malini a big star. In 1969 he was a member of the jury at the.

Directorial debut and the 1970s [ ] His directorial debut, the espionage drama, was a flop but has developed a cult following over the years. The film introduced Zaheeda and had Waheeda Rehman as the lead female artiste. He tasted success with his 1971 directorial effort, which talked about the prevalent culture.

His find, who played the mini-skirt sporting, pot-smoking Janice, became an overnight sensation. Dev also became known as a filmmaker of trenchantly topical themes. The same year, he starred with in, an adaptation of 's novel,. The film was directed by Dev's brother, Vijay and was also successful. In 1971 he paired again with Zaheeda in which went on to become a success. In the 1970s, started playing roles of fathers in films like in 1971 and in 1974 and had put on a lot of weight and films with as lead hero were failures at the box office.

Some of the hurriedly made films with Dev Anand as the leading man—three each opposite Hema Malini - Shareef Badmaash, Jaaneman, Joshila and two with Zeenat Aman - Ishq Ishq Ishq and Prem Shastra and with Sharmila Tagore—became flops and posed a threat to his career as leading man. But he delivered commercial hits again with young heroines and in (1973), with Hema Malini in (1973) and (1974), with in (1973), (1975) Kalabaaz and (1977) and with in (1976). The presence of his discoveries in the 1970s—Zeenat, and later, in films and his good on-screen chemistry with beautiful young stars like,, and in various films boosted Dev's image as the evergreen star even though he was well into his fifties.He was already 55 when he was paired with Tina Munim in 1978 in Des Pardes, which became among the top five grossing films of the year. Political activism during the Emergency in the late 1970s [ ] Dev Anand has also been politically active. He led a group of film personalities who stood up against the imposed by the then,.

He actively campaigned against her with his supporters in Indian parliamentary elections in 1977. He also formed a party called the ' National Party of India', which he later disbanded. The 1978 hit, directed by Dev Anand was the debut movie of actress and this film’s success gave him the tag of the Evergreen Hero.

He was 55 but he shared very good chemistry with the 20-year-old Tina Munim. Dev Anand was offered the lead role in by director Basu Chatterjee. Dev Anand’s successful run at the box office continued in the 1980s with, (both opposite Tina Munim) and (1982) all being critically acclaimed and box office hits.

Later career [ ] Though Dev Anand’s demand as the lead hero had not decreased even in the 1980s, he decided that it was the right time to introduce his son in films as the hero. He launched his son in the inspired (1984), which was produced and directed by Dev Anand himself and had music. He expected the film to do well but the film was a box office disaster and decided not to act in films any more. But films with Dev Anand as the lead hero in (1985) and (1989) continued to be box office successes and were appreciated by critics.

(1990), where Dev Anand co-starred with and became an average grosser. Aamir said in an interview that Awwal Number is the only film he signed without reading the script because it was being directed by his senior Dev Anand. Aamir quoted “Dev saab was an icon for many generations and entertained us throughout his life. He was already 60 years old in 1983 when he acted with in Swami Dada but looked half his age and shared a good on-screen chemistry. In 1989, his directorial venture Sachche ka Bolbala was released. Though critically acclaimed, it was a commercial failure.

His performance as Professor Anand in the 1989 film at the age of 66 was widely appreciated and was a major success at the box office. He managed to look 35 in the film directed by Jagdish Kadar, acting opposite young actors like Sumeet Saigal, Hemant Birje, Javed Jaffery, Sonam and Madhavi. Lashkar was his last film in the lead role in 1989, with him neither being producer nor director of the film.

His directorial movie ' (1995) had a controversial nude rape scene of an unknown actress, though the movie was released uncut. Since the 1990s except for Awwal Number, the rest of the eight films directed by him were box office failures, but (1991) and (2000) were critically acclaimed. His last film (2011) was panned by critics across the board. The only two hero films he acted in were Insaniyat in 1955 with Dilip Kumar and Return of Jewel Thief with Dharmendra in 1996. He also starred in English films like The Evil Within (1970) where he was paired opposite Vietnamese actress Kieu Chinh and Zeenat Aman and Guide (English Version). The English language film 'The Evil Within' was a 20th-Century Fox production which couldn't get the nod from the concerned authorities due to its parallel track dealing with opium selling and thus the Indian viewers were deprived of this American venture. Of the 114 Hindi films he appeared in in 6 decades, Kahin Aur Chal (1968) had a delayed release in the early 1970s and the multi-starrer film Ek Do Teen Chaar (1980) remained unreleased and (1968) had him in a guest appearance.

82 of these were box office hits and 29 were commercial failures. By 2011, he had the second most solo lead roles in Hindi films— 92 with Rajesh Khanna having the record for maximum films as solo lead hero in Hindi films - 106. Comparisons with Gregory Peck [ ] Often compared to the famous actor the world over, Dev Anand said that he didn't feel ecstatic hearing the tag line bestowed on him in his heyday. 'When you are at an impressionable age you make idols, but when you grow out of the phase, you develop your own persona. I don't want to be known as India's Gregory Peck, I am Dev Anand'. Acquainted with the Bollywood actor, Peck's personal interactions with him spanned four to five long meetings in Europe and Mumbai.

Dev Anand and Suraiya met Peck for the first time at Mumbai's Willingdon Club, after the Filmfare Awards in 1954, on Peck's stopover from a schedule at Sri Lanka after shooting for The Purple Plain. He knew of the 'Indian Star' as an actor, more so probably because his romance with Suraiya was grabbing the headlines, and they had a chat.

The second time they met was in Rome when Dev Anand was on his way back from the Venice Film Festival, he visited him on the set of Roman Holiday. 'I was returning from the Venice film fest. I stopped my car and joined the crowd watching the shoot, hoping that his eyes would fall on me. As expected, he nodded and I walked up to him. He remembered me and we exchanged pleasantries.' The third meeting was at London on the set of Moby Dick.

However, Suraiya asked for an exclusive meeting with her idol at her house. Though Anand says jealousy was natural for anyone in love, he didn't mind that he was not invited. 'I didn't quite feel anything. It wasn't as if they were going to fall in love or make love. Even if they would have, it wouldn't have mattered. I was mature enough.

Moreover, he wasn't my rival. I too was a big star by then,' says Anand. Critical appraisal [ ] Dev Anand has directed 19 films and produced 35 films of which 7 were directorial ventures and 18 were commercially successful at the box office. He wrote the stories for 13 of his films. Critics say his directorial ventures have always been ahead of their time. Dev Anand's films are well known for their hit songs.

He is known to have been an active participant in the music sessions of a number of his films. His association with music composers,,, and his son, lyricists,,,,, and, and produced some very popular songs. Mohammed Rafi, Pran, Kishore Kumar, S.D Burman and R.D Burman were his closest friends from the film industry.

In September 2007, Dev's own autobiography Romancing with Life was released at a birthday party with the Indian Prime Minister. In February 2011, his 1961 black-and-white film was digitised, colourised and re-released. Dev Anand is credited with giving actors like in Ishq Ishq Ishq, in, in Hum Naujawan and (Sanjay Dutt’s first wife) a break in the film industry, discovering Zeenat Amaan, Tina Munim and encouraging music composer. Amit Khanna started his career with Navketan as executive producer in 1971 and had been secretary to Dev Anand in the 1970s. He adds, 'The uniqueness of Navketan today is that it's the only film company in the world still run by the one who started it.'

Shatrughan Sinha disclosed in an interview that it was Dev Anand who gave him a break in films by giving him a role in 'Prem Pujari' and since Dev had given Sinha a very small role in that film, he compensated for it by giving Sinha another role in his next film 'Gambler'. Sinha quoted 'Later on we worked together in 'Sharif Badmash' and it was really a privilege to work with him'.

It was under Dev Anand's Navketan Banner where Guru Dutt, Raj Khosla, Waheeda Rehman, S.D. Burman, Jaidev, Sahir Ludhianvi, Majrooh Sultanpuri, Yash Johar, Shekhar Kapur and Kabir Bedi were given breaks into Hindi films and Dev launched actors Zaheera,, Zarina Wahab, Natasha Sinha, Ekta Sohini and Sabrina. Death [ ] Dev Anand died in his room at in at the age of 88 on 3 December 2011 (4 December 2011 I.S.T) of a.

His death came just months after the release of his last film. Anand was reportedly in London for a medical checkup at the time of his death. Condolences poured in from all corners of the, with most of them remembering his positive attitude towards life. On 10 December, his funeral service was held at a small chapel in London after which his casket was taken to the Putney Vale Crematorium in southwest London. His ashes were returned to India for immersion burial in the. Awards, honours and recognitions [ ] The honoured him with the in 2001 and the in 2002 for his contribution to Indian cinema.

His career spanned more than 65 years, acting in 114 Hindi films, of which 92 had him play the main solo lead hero, and he did two English films. He was the recipient of the for his performances in and, the latter being India's official entry to the. He also received critical acclaim for his performances in films like,, Nau Do gyarah, CID, Kala Pani, Kala Bazar, Munimji,, Teen Deviyaan, Maya, Asli-Naqli,,,, Solva Saal,, Johnny Mera Naam,,, Gambler, Amir Garib,. Critics and audiences have frequently regarded Anand as one of Bollywood's definitive Leading Men: Charismatic, Debonaire, Urban, Handsome and Charming. [ ] Dev Anand was titled as Mr.Evergren by film critics and analysts. [ ] He is remembered as an energetic person, through-out the Industry.

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Guardians of the Galaxy Vol. 2.2017.DVDRip.torrent Detected quality: DVDRip Genre: Action Release Date: 8 April 2017 Language: English Country: USA Sinopsys: – And here it is, the film that was expected the most is finally arrived! The Guardians of the Galaxy Vol. 2 is a very good science fiction film and action (adventure). I saw it in preview, in 3D, it was fantastic.

The fights are spectacular. A casting that throws! A scenario more than perfect! A grandiose staging, spectacular and well detailed sets, special effects bluffing, the ships are very well detailed. A film very well on vitamin, sequences of actions breathtaking and refreshing, some characters are very VERY well made up! A 2h 01min movie that provides entertainment rarely seen on the big screen. A film of a formidable efficiency!

A story that has meaning and originality, I love it! I was not tired for a second, strongly a suite!! In Guardians of the Galaxy 2 the intergalactic quintet decides whether it wants to do something good, something bad or a little of both. Just in Guardians of the Galaxy, enemies have become friends, and the five allies are already making the all uncertain. Peter Quill (Chris Pratt), Gamora (Zoe Saldana), Rocket Raccoon, and Drax the Destroyer (Dave Bautista) do not travel as a space adventurer this time Only known places, but also encounter new angles of the galaxy.

After the past experiences have given them some riddles, they are now trying to solve them. ‘Star Lord’ Peter Quill has just discovered that he is not of purely human origin, and – even if he does not know – a meeting with his father is now within reach. In the case of rivals who want to get to the collar, the Fives are not lacking in Guardians of the Galaxy 2, after they have previously placed Yondu (Michael Rooker) and Nebula (Karen Gillan) in their place.

Although Ronan was the first shot, Strippenzieher Thanos (Josh Brolin) is still pushing in the background. So it’s a good thing that the protectors of the galaxy can also count on new, friendly support After the successful success of Guardians of the Galaxy, it was not long before director James Gunn had his commitments for his sequel Guardians of the Galaxy 2 in his pocket and the quintet from Chris Pratt (Jurassic World), Zoe Saldana (Avatar Dave Bautista, Bradley Cooper (American Sniper) and Vin Diesel (Fast & Furious 7) were back together.

Also Michael Rooker and Karen Gillan are back on board. Lee Pace, who had his villain appearance as Ronan the Accuser in the predecessor movie, will not return in Part 2, even if no one excluded that he could have a comeback in later films. Al Pacino, possibly as ‘Grandmaster’, was in discussion before new arrivals.

As in Part 1, James Gunn can not be taken for Guardians of the Galaxy 2 to write the script again. Really amazing! A space opera that nails us to our seat. Space battles are decorated with finely placed jokes. The fantastic universe is beautiful. There is no limit in the creation of this new Marvel universe. The association of these 5 heroes with completely different temperaments and styles carries the audience’s support with a certain panache. Awesome special effects, an extraordinary B.O., a very good actors’ game, an offbeat humor are the ingredients of this science fiction comedy. The best Marvel from Avengers.

Screenshots: Guardians of the Galaxy Vol. El Bar.2017.DVDRip.torrent Detected quality: DVDRip Genre: Comedy Release Date: 24 March 2017 Language: Spanish Country: Spain Sinopsys: – Spanish genre, certainly effective but not really able To bring anything back to the proven recipe for closed doors, which turns into a psychological thriller before culminating in an unbridled race for survival. Thanks to El Bar, the director Alex De La Iglesia proves his expertise in the field of cinema fairly gore, it is confined with a certain stubbornness in the type of film that goes around the fantastic festivals, without then finding To a wider audience. His thirteenth film El Bar should therefore know a fate comparable to that of most of his previous feature films, that is to say, the days of video-on-demand services, the video-clubs of the 21st century.

For as pure entertainment devoid of ulterior motives, this abracadabrante story El Bar holds pretty much the road. This perfectly sums up his qualities and his weakness, the number of which is nearly equal. The young and beautiful Elena had planned to make only one stopover in the bar held by the acrimatic Amparo, time to recharge her cell phone that she would need to recognize the man she was supposed to meet in a ” a date. However, she remained there for hours, after a man was shot in mysterious circumstances outside the door of this establishment to the popular clientele.

With the rest of the guests, Elena will try unsuccessfully to understand the strange reasons for this brutal murder, until their nerves are flushed and a spark is enough to detonate this improvised community, left voluntarily in the blur. El Bar narrative articulates stoically in three movements: the setting up of the stakes of the plot in this very ordinary coffee, followed by two major changes of scenery, which progressively see the characters sink a little more In their psychosis and the foundation of the city. The elements of surprise are rather rare in this narrative arrangement, which no doubt considers that the overbidding of the tone is worth a thousand times better than reversals less dependent on a fierce race to the systematic elimination of obstacles to survival. In the cinema of Alex De La Iglesia in general and this film El Bar in particular, there is hardly room for a gradual evolution of the characters, whose character traits are just as caricatural as the interaction between them. The tension in the context takes precedence over everything else, at the risk of reproducing, after film, the same spirals of violence, which plays more a role of triggering the spectacle than of warning against the excess that will lead directly To disaster. For the supreme vocation of these stories which glare with evil pleasure towards horror is precisely to make suffer as gratuitously as possible innocent poor, for example in the present case in the form of bodies stripped and dripping with oil which must squirm In all directions to pass through a hole too narrow.

However, from this assumed claim of bad taste and cynicism, which nevertheless relies on a very solid technical expertise, flows all the enjoyment that a film like El bar can provide. Basically, we do not give a damn about who is going to die or who will die, especially towards spirited and soulless characters, the most naughty of all, whose only distinctive sign is their belonging to a stereotype in The air of time, from the heroine to the heart of artichoke to the hero mostly bearded in order to be the target of all sorts of ill-intentioned suspicions, passing by a gallery of idiots to fantasies and ridiculous phobias. The most wacky conspiracy theories are among those poor fellows who have had the misfortune of being in the wrong place at the wrong time.

And yet the most ancestral fears and joys are fairly well brought into this thriller curiously panting to avoid the most painful vacuum passages. We are then very timidly in doubt that all this agitation is deliberately reduced to a tirade of mischievous smartness, capable of deriding paranoid fears which now rhythm the everyday life of the Europeans. Alex De La Iglesia remains equal to himself with this moderately baroque descent into hell. El bar is a genre film that draws us as best as possible from a few superficial laughs and snickers, for lack of innovation in any way. It is a suitable entertainment, immediately seen, immediately forgotten, which will delight the undecorrespondable fans of the Spanish director, but who does not risk creating new ones. Screenshots: El Bar.2017.DVDRip.torrent. Trapped.2017.DVDRip.Hindi.torrent Detected quality: DVDRip Genre: Thriller Release Date: 23 November 2016 Language: Hindi Country: India Sinopsys: – Just imagine that the Mumbai Metropolitan any human buildings 35th floor became a flat to be stuck where neither water, nor electricity, nor eat anything and not get out any way and help you nobody to be, what will happen.

Vikramaditya Motwani movie Trapped deal with that question is a film in which a young man (Raj Rao), who is stuck in a situation like this for more than an hour into the film continues to struggle to return to the outside world is. For this he has to do a lot of things, which he had never done in life. The breakthrough performance of the prince Rao works as icing on the cake, who absorbed himself in his character and the character viewers feel connected. So far one of the best films of the prince Rao and long will be remembered for her performance in this film.

Motwani, the film became a milestone for the prince went to Rao’s career. The film Trapped also has a firm belief that these times and artists with small budgets can be a great film. From cinematography editing, background music and romance interesting little twist that makes this film. Despite not being a big name in the film who will see this movie, a great movie will realize that this movie Trapped is different from the other movies. Screenshots: Trapped.2017.DVDRip.Hindi.torrent. Kuroko no Basket Last Game.2017.DVDRip.torrent Detected quality: DVDRip Genre: Anime Release Date: 15 March 2017 Language: English Subtitled Country: Japan Sinopsys: – A dream team of high school students formed to defeat American Stobus team Jabberwock.

Kuroko, Fire God and “the generation of Kiseki” is the strongest centerpiece. It was serialized at “Weekly Shonen Jump” from 2009 to 2014, and the comic book has surpassed the cumulative total of 30 million copies of the super popular basketball cartoon “Kuroko no Basket Last Game”. TV animation began in 2012 and recorded a huge hit that is broadcasted in 3 stages (75 story). In 2016 the theater version project started! First of all, we screened an event as a total compilation of the fierce fight of the winter cup drawn in the TV series. And in the spring of 2017, a completely new movie is finally released. New movies are imaged as “Kuroko no Basket Last Game” drawn by the original author, Tadatoshi Fujimaki as a sequel.

That’s why the authors themselves wrote a new episode for the movie! Complete version “Kuroko no Basket Last Game” appears on the screen! Kuroko Tetsuya and Fire God Okoshi who joined Ryoke High School Basketball Club. Kuroko was surprisingly shadowy to everyone, against a fire god with an outstanding sense. However, Kuroko was active as a “sixth vision (Sixman) of vision” fighting with five geniuses called “generation of Kiseki” at a powerhouse, Teijin Junior High School. The two who became the name combination of “shadow” and “light” become the main strength, the Sei Rin basketball division fulfills the winter cup participation. And after the fierce battle with “the generation of Kiseki”, we finally achieved the nationwide championship. Kuroko no Basket Last Game became a sophomore, and at the end of the summer, a street basketball team “Jabberwock (Jabberwock)” attracting attention from America came to Japan.

But in friendly matches they showed that they overwhelmed the Japanese team with overwhelming ability and laughed at Japanese basketball. Rico’s father who was furious with that attitude Hikiga collects Kuroko and Fire God, and “generation of Kiseki” and declares revenge match to Jabberwock! This time’s strongest dream team “VORPAL SWORDS”, gathered here!! Screenshots: Kuroko no Basket Last Game.2017.DVDRip.torrent. 2 Cool 2 Be 4gotten.2017.DVDRip.torrent Detected quality: DVDRip Genre: Drama Release Date: 15 March 2017 Language: Filipino Country: Philippines Sinopsys: – This motion picture 2 Cool 2 Be 4gotten is a superb case of why this new trend of Filipino filmmaking is so fascinating.

We sure were expecting a lot of drama, and surely not this major plotline that unravels itself halfway through the tale. Confirmed, you will be astonished at the direction the film eventually takes. It’s a rollercoaster experience for the audience.

Being good sports, we won’t hand out any spoilers, but we can tell you that you’re in for an ending totally unexpected. All three celebrities were recognized for their actions in 2 Cool 2 Be 4gotten feat for Khalil Ramos, playing his first leading role in an indie film, and newcomer Ethan Salvador, in his first motion picture ever. Fellow newcomer Jameson Blake, who plays the cockier Snyder brother, bagged the award of Best Supporting Actor for that film fest. Look out for his daring scene not many actors would attempt to do. If there’s a genre of film that millennials could relate to the most, it’s the coming-of-age movie.

In 2 Cool 2 Be 4gotten, main character Felix is an outcast who eventually finds true friendship and love in one of the Snyder brothers-a familiar tale that anyone can identify with, except told in a unique manner and set against a 90s-era Pampanga, post-Pinatubo eruption. Screenshots: 2 Cool 2 Be 4gotten.2017.DVDRip.torrent. Kong Skull Island.2017.DVDRip.torrent Detected quality: DVDRip Genre: Action Release Date: 10 March 2017 Language: English Country: USA Sinopsys: – When we saw the classic King Kong of 1933 and the poetic King Kong of Peter Jackson in 2005, we expect a lot of a new film stamped of the paw of the king of Skull Island.

The adaptations concerning the Kong were in any case numerous, and some less well than others. This opus there is quite disappointing, because if the entertainment is there, the quality is not at the rendezvous. I was both skeptical and curious about Jordan Vogt-Roberts, a director unknown to the general public. In this case, the best and the worst are expected. One can be surprised and have to deal with a new prodigy, just as one can fall into the worst masses that the world of big budget films have carried. Kong Skull Island is a half-tone film: yes, the pleasure is there, because we are happy to be able to reconnect with the island and its occupants.

The Movie Kong Skull Island is a pure adventure product where the sequences are linked in a well-honed but completely predictable mechanism. We can guess the scenario, the sequence of the action and the ending of the story well in advance: we already know after thirty minutes that Kong will have to face the big and bad creeping, as for the final confrontation in Jurassic World. The socio-political discourse of the movie Kong Skull Island is a bit past and I would say even nerdy: it’s good, we know, on one side we have the military, the “bad guys” who only seek to draw without trying to understand what And that invade a world other than theirs, and on the other we have the open “gentiles” who will show tolerance. It is absolutely Manichaean and seriously, I think it would be time to innovate a little no, question dramaturgy of characters? The same goes for the pseudo-philosophical phrases we get out every fifteen minutes: to take ourselves so seriously the film makes us laugh more than anything else, and at its expense. The filmmaker was fortunate enough to have a gold cast: the excellent Tom Hiddleston (Crimson Peak, High Rise, The Midnight in Paris), the magnificent and talented Brie Larson (Room), of course Samuel L. Jackson (yes, he always plays as well, but hello the role he was spun, I preferred him in The Eight Bastards), John Goodman (the Cohen freaks) and John C.

Reilly this is the case Classic films with great pomp where you get big actors, who are also excellent in the film, but where you forget to write them good roles. For example, the character of Tom Hiddleston, whose name I have already forgotten, would have deserved to be more pushed. The effects of staging are often too cumbersome and it seems that the filmmaker is trying to sell us an old film falsely connected to hippie hints, like the head that jumps in the helicopter (what the hell?) Or else Skull that rejects the creep that necessarily holds the collar and the identity of Chapman at the same time. The photography is not disagreeable and participates in this same movement of inspiration for Apocalypse Now, and the special effects are worth the detour, especially concerning the King of the island which, must be said, is really very beautiful. But then why so little exchange between the King and the characters? It is clear that we are far from the film of Peter Jackson.

In short, Kong Skull Island is a very dispensable but still entertaining film. It does not bring much that has not already been said but it will be worth the detour as family movie or Sunday entertainment, or perhaps for the most curious of us. Screenshots: Kong Skull Island.2017.DVDRip.torrent.