Mickey 17, the best comedy movie 2025, watch and download this movie HD quality now.

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The world is at once scarily familiar and thoroughly, enjoyably loony tunes in “Mickey 17,” the latest Bong Joon Ho freakout.  Bong is the South Korean filmmaker best known for “Parasite,” a ferocious 2019 comedy about class relations that spares no one, including viewers whose laughs eventually turn into gasps of visceral horror.  Few filmmakers can shift moods and tones as smoothly as Bong, or have such a commensurately supple way with genre.  You never know what to expect in one of his movies other than the unexpected, although it’s a good guess that, at one point, something monstrous will show up.

 Opening in 2054, “Mickey 17” takes place in an uneasily recognizable future that holds a cracked mirror to the present.  It is a very funny but very serious story about pretend winners and losers and how heroes struggle when power-hungry push comes to money-grabbing push. That is the case with the title schlimazel, Mickey, a guy with a confused smile and a kick-me sign on his back.  Played with soulful haplessness by Robert Pattinson, Mickey is a nice, not especially sharp guy who, having signed up with a space expedition, is in the wrong place at the wrong time for foolish reasons.  He’s to blame, sort of.

 Bong wrote the screenplay, adapting it from Edward Ashton’s 2022 science-fiction novel “Mickey7.”  The science in the movie is fairly minimal as such futuristic stories go; it includes a souped-up printer that Mickey becomes intimately familiar with during his wiggy adventures in inner and outer space.  Following a disastrous business venture, he and his feckless friend, Timo (Steven Yeun), have fled Earth to work on a spaceship run by Kenneth Marshall (Mark Ruffalo), a congressman turned megalomaniacal cult leader whose acolytes like red hats.  Marshall and his wife, a scary slinkstress, Ylfa (Toni Collette), plan on colonizing what he believes is an uninhabited new world, a snowy white “planet of purity.”

 By the time you have entirely grasped what Marshall and Ylfa are up to, who and what they are, the ship is on the planet, and Mickey has died — 16 times, to be exact — in his role as the ship’s “Expendable.”  Used to test viruses and other threats, Mickey undergoes brutal trials, and ends up dying on the job only to be reprinted in externally identical form.  There are bugs and normal mishaps, as with any software update. When the movie opens, Mickey 17 has just plunged into a planet crevasse.  Timo, who’s zipping nearby, isn’t interested in rescuing Mickey, who is, after all, disposable.  All Timo wants to know is, What’s it like to die?

 It's a question that other people on the ship like to ask Mickey, which adds to the sadness that this movie has even when it's at its most jovial and carnivalesque. As he does, Bong takes a while to fully show his hand.  Instead, working swiftly, he introduces this future with characteristic visual flair, flashes of beauty, spasms of comically couched violence and a palpable warmth that attenuates the more abject turns.  He also gives Mickey a shipboard romance with Nasha, a lovely security guard who becomes Mickey's protector and is played by Naomi Ackie. This affair gets heated up the story. Nasha is normal, just and true, and she helps humanize Mickey.  Bong often plays Mickey’s deaths for laughs, but he wants you to feel them.

 And you do feel them, at times deeply, amid the flashbacks, pratfalls, peppy edits, roving camerawork and the images of one after another Mickey being dumped like garbage.  These scenes can be rightly grim, yet they have a queasily amusing kick because of Bong’s lightness of touch and Mickey’s deadpan fatalism.  One of Bong’s undersung strengths is that he’s great with actors, and the work that he and Pattinson do with the character’s voice and silent-clown physicality is crucial to pulling off the movie’s tonal expansiveness.  Mickeys come and go, but you get to know No the best. 17.  He has a distinct nasal whine (shades of Adam Sandler) that, as humor gives way to anguish, becomes a clarion call for decency.

 Mickey is so gentle and seemingly helpless that it’s easy to be on his side, but part of what makes him sympathetic is that his misfortune isn’t a matter of just predisposition or predestination, the way it often is in American movies.  Mickey tends to make mistakes, and didn’t read all the paperwork when he joined the expedition, but, really, who reads the fine print?  He was desperate, owed money and needed to make a fast exit.  So, alongside other distressed applicants, he found a solution in a market economy in which everything, life included, has a price.  In this case, the cost is a perilous, exploitative job, one that’s the equivalent of, say, butchering factory-farmed hogs in a slaughterhouse.  Except that Mickey is the hog.

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 Bong keeps things zipping along, and with such nimbleness that the movie’s heavier ideas never weigh it down.  He jabs rather than pounds as he takes on targets — authoritarianism, comic-book heroics, the vanity of power — while playfully mixing moods and acting styles.  As he has done elsewhere, he folds more naturalistic performances like Ackie’s in with hyperbolic turns, something Pattinson deploys full tilt later in the story.  Colette, for instance, turns on Ylfa’s brights with wolfish smiles and waves around nails as sharp as knives while Ruffalo goes as big as Marshall’s teeth.  Jutting out his chin and chest Mussolini-style, Ruffalo gives form to a personality that wavers between puffed-up braggadocio and deflated neediness.

 There’s an unmistakable Trump-world quality to Ylfa and Marshall’s larger-than-life personalities and luxurious quarters aboard the spaceship, an association that you sometimes hear in some of Ruffalo’s vocalizations.  That gives the movie a frisson of topicality, though these allusions are tucked into a movie stuffed with many other ideas and interests; among other things, this is a distinctly pro-animal movie (like Bong’s “Okja”) with a sharp antivivisectionist sting.  Mickey is effectively the expedition’s lab rat, one who’s repeatedly sacrificed in the name of the greater good, a theme that Bong underlines when the planet’s resident population of charming, periodically alarming creatures takes on a greater role.

 “Mickey 17” is, like “Parasite,” a deeply unsettling story about haves and have-nots.  Marshall and Ylfa live in gilded luxury serving (gross!)  synthetic meat to a chosen few while most workers trudge through dingy halls and choke down even grayer rations.  Like the working-class crew of the extraterrestrial tugboat in Ridley Scott’s “Alien,” Mickey, Nasha and the rest of the workers are headed into uncharted, dangerous territory.  There will be monsters and, yes, blood.  In a film that teeters on apocalyptic despair but also lifts you to the skies because Bong is finally an idealist and not only one of the great filmmakers working today, there will also be love, kindness, camaraderie, heroism, and sacrifice.

 

Vidaamuyarchi, the best Tamil movie 2025, watch and download this movie HD quality now.

 

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Vidaa Muyarchi Movie Synopsis: Arjun (Ajith Kumar) and Kayal (Trisha), who were together for 12 years, are on the verge of divorce.  Arjun decides to drop Kayal at her parents’ house, a 10-hour drive.  The trip takes an unsettling turn when Kayal goes missing, prompting Arjun to embark on a journey, looking for her.

 Vidaa Muyarchi Movie Review: Vidaamuyarchi is adapted from the Hollywood film Breakdown.  The film doesn’t give the usual euphoria Ajith fans expect from their hero, but offers some enjoyable moments in the last one hour.  Road trip thriller viewers or those who are already familiar with the genre may find the premise and plot to be extremely predictable. While the first half stays true to Breakdown, the second half has been Kollywoodised to cater to fans and the local audience.

 Three months after meeting, Arjun and Kayal make the decision to get married. Twelve years and a miscarriage later, the couple is clearly not happy.  Kayal files for divorce after revealing her affair with another man, but Arjun maintains that their relationship is not yet irreparably damaged. When Kayal decides to move to her parents’ house in Tbilisi - a 10-hour drive from their house in Baku, Azerbaijan - till the divorce proceedings are settled, Arjun insists that he drop her — as their one last trip together.  On the road, they encounter Rakshit (Arjun Sarja), a truck driver, and his wife Deepika (Regina Cassandra), who are also Tamilians.  When Arjun’s vehicle gives up mid-way, he asks them to drop Kayal at a cafe nearby.  But when he reaches the place, he finds out that Kayal has been kidnapped!  Will he lose her forever if he does not save her in time? Vidaamuyarchi starts off very slow, with Sawadeeka song — which starts as soon as the movie begins — being the only high point in the slow and dull first half, which covers the couple’s relationship drama, flashback sequences and the incidents that lead to Kayal’s kidnap.  It reaches an interesting point at the interval, only to be bogged down by a quick revelation about the antagonists.  The film would have become an intriguing thriller if director Magizh Thirumeni had placed this scene toward the end. The revelation ends up being a spoiler for the supposedly thrilling second half, making it very predictable.  The half-hour leading up to the interval also feels repetitive.  The film comes together in the last one hour, but the closure is utterly disappointing as it feels like a convenient wrap up.

 Vidaamuyarchi is not the usual Ajith outing and marks a departure from his typical mass masala films with an entry song and lengthy dialogues.  While there are two ways to see this, the movie might be disappointing for Ajith fans expecting mass moments.  Ajith wields a white flag from the beginning and stays away from putting up a fight until heavily provoked.  For an action thriller, he gets beaten up more than he can beat up.  The action sequences are ordinary and natural, and don’t suit the tone of the film.  Vidaamuyarchi lacks the stand-out moment fans eagerly look forward to, thus failing to deliver an intended impact.

 Ajith is stoic as a man who is caught unaware of why Kayal is divorcing him.  Throughout the film, he puts up a class act as the film focuses on content over style.  Trisha appears prominently in the first half, but has very little to do in the second as she goes missing.  Arjun and Regina’s roles required a little more depth.  While adapting from the core of Breakdown, the filmmaker fails to provide details about why Arjun and Regina are the way they are.

 Om Prakash’s cinematography offers some good frames as he captures the deserted roads of Azerbaijan in true tone.  His camera work enhances the film's visual appeal.  Anirudh Ravichander is in top form, and shows off his excellence in the last few minutes.  Sawadeeka stands out, and the rest of the songs are blended into the story.  An action scene inside the car is delightful, and is shot very tastefully.

 Vidaamuyarchi might find its space with some niche audience, but a racy screenplay, especially considering the genre, and a little more emotional depth, could have made the film dearer to all.

Veera Dheera Sooran: Part 2, the best Tamil movie 2025, watch and download this movie now.

 

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The plot of Veera Dheera Sooran: Part 2 is as follows: A gangster who has given up his violent ways agrees to take on one last hit job to save the son of his former boss. The son is the target of a police officer who is trying to settle a score from the past. Can he outwit them all and remain the last man standing, with all three threatening to bend him to their will by using his family as leverage? Veera Dheera Sooran - Part 2 Movie Review: SU Arun Kumar’s Veera Dheera Sooran begins in a most intriguing manner.  We are thrown right into the middle of a situation that is developing without much of a set up to explain why it is happening. Even though we know very little about the film's plot or characters, this immediately draws us into it. A woman lands up at the door of Periyavar/Ravi (Prudhvi Raj, cast against type in a serious role), a local big shot with criminal links, of doing away with her husband.  Her husband, meanwhile, complains to SP Arunagiri (SJ Suryah, fine balancing the greyness of the character to keep us guessing) that his wife and daughter are missing.  This provides the cop with the ammo that he’s been looking for to take down Periyavar and his son Kannan (Suraj Venjaramoodu, making an impressive debut in Tamil), who had played dirty with him a decade ago.  Arunagiri plots an encounter killing prompting Periyavar to reach out to his erstwhile viswasi Kaali (a robust Vikram who offers a peek into the mass avatar of his Dhool and Saamy days), who has given up his violent ways and is now leading a peaceful life with his wife Kalai (a competent Dushara Vijayan even makes us overlook the huge age gap between her and the male lead) and their two children.

 Arun Kumar keeps the tension alive by making Kaali vulnerable as he pits him against three individuals who he cannot trust and yet do their bidding as they slyly use his family as a threat in their own ways.  At least until the intermission, the director holds back from giving us any peek into their shared history.  We are only given brief mentions of occurrences and names from their past, particularly an incident they refer to as "Sudhakar sambavam" that brought them all to this explosive situation. This actually forces us, the audience, to individually imagine what might have happened, and pick characters to root for as well as hate.

 And tense action keeps unfolding as there are cat-and-mouse-game-like scenarios and near-miss episodes that keep us hooked.  One particular scene, involving landmines (or “kezhangu”, as the characters call it) delivers edge-of-the-seat thrill, and another, which marks the meeting of Kaali and Arunagiri gives us a whistle-worthy mass masala moment.

 If Arun Kumar had trusted his audience and chosen to show us only the events that take place during this one night, the film would have remained unique and engaging—and would have also served to justify the title "Part 2." Perhaps he felt breaking the convention of providing a flashback would be too risky a move, but the director decides to give us the back story (at least the portions that matter), including the ‘Sudhakar sambavam’.  This is where the film begins to lose its individuality as the back story that we eventually get doesn’t match with what we have all built up in our heads all through the first half; rather, it just feels so routine!

 The film does recover from this minor setback when it gets back to the present with an ambitious one-shot set piece (shot with dynamism by Theni Eswar, whose night-time cinematography is one of the film’s strong points) that begins with a group of characters discussing who among them could be the black sheep and moves on to a shootout between cops and gangsters, and then to a heroic moment.

 But then, just when we expect it to soar higher, it helplessly remains stuck on the ground.  Like someone painstakingly building a house of cards and finally making a move that brings most of the structure down, Arun Kumar undoes all the earlier good work with a weakly written third act (despite its title, this is not the film where we can willingly suspend disbelief when its hero gets back up after being thrashed and even shot at by over a dozen men) that leaves us with a slightly bitter aftertaste.  And the director himself seems to have realised this and decides to bank on nostalgia (yes, with THAT Vikram song!)  to inject some energy into his limp climax.

The Diplomat, best Hindi movie 2025, watch and download this movie full HD quality.

 

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Under the direction of the then-Minister of External Affairs, Sushma Swaraj, Indian High Commission officials rescued Uzma Ahmed from her abusive Pakistani husband in 2017. Director Shivam Nair joins forces with actor-producer John Abraham to recreate the diplomatic maneuver from the point of view of diplomat JP Singh, who led the rescue mission to bring the Delhi girl home.
However, as it turns out, it is yet another addition to the trend where filmmakers flaunt the placard of ‘based on a true story’ but develop cold feet in digging the truth of the story. It thanks the top of the ministry for support, but it is hard to take a film on diplomacy seriously that can’t differentiate between an embassy and a high commission. It is difficult to root for a nationalist narrative when the makers don’t get the designation of a former foreign minister right.
The Diplomat sounds contrived and simplistic because it recreates the sarkari version of the events. It brings to mind John's most recent production, Vedaa, in which masala compromised the story's integrity. It would appear that the creators spent more time designing the disclaimer than writing the script. The elaborate disclaimer is more intricate than the storyline. It tries to bind our viewing experience into a series of dos and don’ts, but what one eventually experiences is not in sync with the disclaimer’s logic. It says that the film is based on information available in the public domain but then conjures up an attack on Indian diplomats on Pakistani soil. Ironically, the last line of the disclaimer suggests that the film doesn’t seek to spoil relations with neighbouring countries.
A single mother, Uzma (Sadia Khateeb), meets a taxi driver, Tahir (Jagjeet Sandhu), in Kuala Lampur. Uzma decides to relocate to Buner in the hills of Pakistan's geopolitically sensitive Khyber Pakhtunkhwa province because she believes that the mining-rich, sparsely developed area is ideal for her daughter's naturopathic treatment. Her bubble bursts when the much-married Tahir turns out to be a beast. She tricks him into knocking at the doors of the Indian High Commission, and then John takes charge.
Uzma's backstory does not sound plausible, even with creative license. It is hard to buy the gaps in her statement as just a huge error of judgment. It's odd that the film doesn't talk about her parents or her first husband. Even the conservative Pakistani characters don't ask her about her marriage to Tahir. Moreover, the commentary and tone reduce the complexity of the situation to answer a popular social media question: the difference between India and Pakistan. The good thing is Nair keeps it moving, papering over the cracks with some style. To his credit, screenwriter Ritesh Shah attempts different shades of Pakistani characters, however, they remain swimming between hysterical and stereotypical. A helpful lawyer (Kumud Mishra), a law-upholding judge, and a slimy ISI officer (Ashwath Bhatt) all behave like stock characters with predictable lines. Bollywood has reduced the versatile Ashwath into a single-note specimen of vile from across the border whose motives can be seen from a distance.
It goes without saying that Pakistan is a difficult terrain for foreign service officers, but one is not sure whether our officers keep stating the obvious. Talking of diplomatic language, in his conversations, Singh twice emphasises that Uzma is a Muslim girl. Ritesh tries to create variety in the Indian diplomatic set-up by pitching a Pakistan-fearing Tiwari (Sharib Hashmi), but the character’s potential remains unrealised.
Known for keeping a straight face even in the most evocative of scenarios, John is a great choice to play a diplomat, and he does a decent job in a role that limits his muscle power to forcefully punching the table. He channels his inherent swag to make his way through a sketchy script. Jagjeet blends into the atavistic ways of patriarchy. In a short appearance as Swaraj, Revathy captures the grace and charm of the politician who earned respect across the political divide. Sadia Khateeb, on the other hand, creates a moving portrait of a woman who suffers for believing a stranger during the film's tense moments. Except for the sloppy courtroom sequence, she remains a picture of poise and tenderness amidst suspecting men. Unfortunately, the nuance of her performance, like much else, gets lost in the sanitised screenplay.
Right now, The Diplomat is in charge.

Santosh, the best Hindi movie 2025, watch and download this movie HD quality.

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his is a phenomenal achievement: the feature film debut from British-Indian former documentary maker Sandhya Suri is a punchy, muscular Hindi-language police procedural set in rural north India. Elegantly scripted by Suri, Santosh combines gripping, gritty storytelling with a deft acknowledgment of some of the murkier aspects of modern India: the police corruption and brutality, the baked-in sexism, the caste prejudice and anti-Muslim sentiment. It strikes a tricky balance between perceptive, issue-led film-making and propulsive entertainment.
The movie was this year’s UK submission to the international Oscar category, but due to problems with the censors is yet to be released in India. It follows the journey of the eponymous central character. Santosh, a recently divorced woman played by Shahana Goswami, is offered the position of police officer through a government scheme. It's an opportunity that gives her freedom from her harsh, critical parents and a growing sense of self-worth. Level-headed, serious and diligent, Santosh is instinctively suited to the job. Geeta (Sunita Rajwar, excellent), the veteran female cop brought in to quell the rising tension, immediately spots Santosh's potential and assigns her to the case as her second-in-command when a scandal involving the murder of a Dalit (the lowest caste) girl threatens to ignite local unrest. It is, Santosh soon realises, a dubious honour. Geeta’s slippery charisma and ruthlessness earn the respect of her male colleagues, but her methods are suspect and her motives, in supporting her younger colleague, opaque. Through the quiet intelligence of Goswami’s impressive performance, we grasp, as she does, that a case closed doesn’t necessarily mean that justice has been done.
Seeing these messages is annoying. We are aware of that. (Imagine what it’s like writing them … )
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Only 2.4% of the Guardian's regular readers currently contribute to its funding. We know that not everyone can afford to pay for news but, if it would help twist your arm into supporting our work, we’d love to offer readers like you in Bangladesh 30% off an annual All-access digital subscription when you checkout.

 

Avatar: 3 Fire and Ash, the best English movie 2025 ,watch and download this movie.

 

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do you sense it? You will be able to sense that the old Avatar machinery is starting to crank up again if you pay enough attention and have your spirit tuned to the planet's frequencies. The third instalment of the series, Avatar: Fire and Ash, is set for release in December.  And this means that James Cameron finds himself saddled with a familiar task; in just nine months he has to try and motivate people to see a film from a franchise that they’ve already forgotten about twice before now.

 The bad news is that these are incredibly expensive films to make.  So expensive, in fact, that Cameron previously stated that the second film needed to be the third highest grossing movie of all time just to break even.  And, just to compound things, that film was such an incomprehensible mishmash of confused mythology, nondescript motivation and vague characterisation that this one needs to be something really special to get bums on seats.

 But the better news is that James Cameron has been here before.  Now that he knows how to get people excited for the Avatar films, he's going to pull out all the stops. So, how will Cameron convince you to see Avatar: Fire and Ash? merely by promising you a prolonged emotional breakdown. Suzy Amis Cameron, Cameron's wife, is the only person who has yet to watch Fire and Ash in its entirety. According to an interview in Empire, Suzy watched the film just before Christmas.  There is a possibility that she is not yet over it. My wife watched everything from beginning to end. She had kept herself away from it and I wasn’t showing her bits and pieces as we went along.  It was December 22,” Cameron stated. “She bawled for four hours.  She kept trying to get her shit back together so she could tell me specific reactions, and then she’d just tear up and start crying again.  Finally, I’m like, ‘Honey, I’ve got to go to bed.  Sorry, we’ll talk about it some other time.’”

 Now, Fire and Ash is thought to be a long film – Cameron has already said it will be longer than Avatar 2, which had a three hours and 12 minutes runtime – but even so, a four-hour bawling fit seems excessive.  This is a film that will make you cry so hard and for so long that even James Cameron will eventually get bored.  That’s really saying something.

 Let’s do the maths here.  If Suzy Amis Cameron’s reaction is any indication then, come December, you’re going to have to put aside seven-and-a-half hours aside to experience Avatar: Fire and Ash; three-and-a-half to watch it and then another four to lie on the floor weeping and wailing as you process what you just saw.  That’s a big chunk of time.  It means that realistically you can only watch a matinee performance, or else you risk losing a full night’s sleep to sobbing uncontrollably about the fate of some blue smurf thing whose name you will never be able to remember.  Surely that will affect box office grosses.

 But let’s look at this as an opportunity.  There are a plethora of marketing opportunities if Cameron's portrayal of Fire and Ash is accurate. Perhaps audiences could be handed a sachet of rehydration salts with their tickets, or maybe fleets of therapists could be waiting in the lobby to soothe the exploded nervous systems of everyone who sees it.

 Also, it’s worth pointing out that the third Avatar film isn’t even going to be the most hysterically brutal Avatar film of the series.  No, that honour goes to the fourth instalment.  In 2022, Cameron revealed that, while studio executives sent him three pages of notes after reading the script for Avatar 2, and just one for Avatar 3, the sum total of the response to the fourth film’s script was an email reading “Holy fuck”.

 Now, bear in mind that Avatar 3 managed to ruin Suzy Amis Cameron for four hours, with the implication being that the same will happen to you.  What on earth is going to happen after the fourth film?  Will you bawl for five hours?  Six?  Will your hair spontaneously burst into flames?  Will your heart explode inside your ribcage and kill you instantly?  Better start pre-booking your ambulances for December 2029.

Sinners best English movie 2025 watch and download this movie HD quality

 

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For a lot of movies these days, there’s a lack of soul and buildup — a thrilling action sequence with no stakes, heartfelt character moments with no development — in the story.  It weakens and even cheapens the narrative, often making for an uninspired viewing experience.  Additionally, the number of outstanding films is decreasing as studios take fewer risks with non-IP productions. In this day and age, the existence of Ryan Coogler's Sinners (Black Panther, Fruitvale Station) feels like a miracle. It gives me hope for the future of filmmaking because it is so amazing good and has layers of themes. On paper, Sinners has a lot going on, but it’s tightly structured and paced, with Coogler making every frame count.  Each character is well-drawn, their backstories revealed organically.  Coogler forgoes flashbacks altogether when twin brothers, Smoke and Stack (played expertly by Creed actor Michael B.  Jordan in a dual role), relay information from their past.  We hear rather than see their experiences as they speak, which strengthens the narrative and gives the film a bit of a stylistic flourish — something it has in spades.  It also allows the film’s sound and score to shine.

 Set in 1932 Mississippi, Sinners opens with Sammie Moore (Miles Caton, making his feature acting debut) arriving at his father’s church.  He’s beaten up, scratched, and holding the handle of a guitar; it’s all that’s left of it.  We’re offered glimpses of what happened to him before the film goes back to the day before.  After spending some time in Chicago, Sammie's twin cousins have come back to town and hired Sammie, who plays guitar and sings, to help them open their juke joint. Smoke and Stack have money, which is called into question a few times considering who they used to work for in Chicago, and they use it for the grand opening.  Smoke reunites with his love, Annie (Loki’s Wunmi Mosaku), with whom he had a child who died, while Stack runs into Mary (Dickinson actress Hailee Steinfeld), whose relationship with Stack is a bit tense.  Smoke and Stack’s relationships — with each other and to others in the town — are explored for the first half of the film as they collectively work to get the juke club going.

 This is crucial to the second half, which focuses more on the tension and horror-fueled arrival of Remmick, a music-loving vampire who targets the juke club and is played by Jack O'Connell (Lady Chatterley's Lover). I was enjoyingly getting to know the characters for the first hour while the supernatural elements lingered in the background. The film is in no rush to get to the vampire aspect, but Sinners has more on its mind than that, layering the story with exquisite mythology, music as a form of magic, and a setting and character situations that engage with social commentary that still echoes today.

 The film’s foreshadowing is also effective, and the writing is tight.  The dialogue, the costuming, and the way the characters move are also downright sexy, as Sinners has no qualms about infusing the film with a rush of seductive energy that casts an electric spell alongside the music.  It holds our attention at every turn and draws us into the narrative. The film combines so many elements that it might not have worked in someone else's hands. Some of the dialogue, spoken differently and with a wholly disparate tone than what the film is going for, might have even been weird.  But in Sinners, there is not one aspect of the supernatural horror that is misused.  Because it is a cacophony of musical styles, eras, and genres that blend flawlessly, it is exceptional in this way. It is a masterful piece of art with many themes and characters. While Coogler has always been a great filmmaker, Sinners may have just elevated him to auteur status.

 There are plenty of vampire films out there, but Sinners stands out because it intertwines vampire lore with that of music as a supernatural barrier between planes, the past, and the present.  Because music plays such an important role in the movie, there is a lengthy scene in which Sammie sings and plays his guitar while dancers and musicians from various eras appear around him and the juke joint. I'll be thinking about this stunning, captivating, and poetic scene for a very long time. In tandem with cinematographer Autumn Durald Arkapaw, who creates a gritty and lush aesthetic, and editor Michael P.  Shawver, whose quick cuts in parts elevate the film’s horror, Coogler has created a soulful, alluring film that has a lot to say and the ability to say it with beauty and coherence.  The film rises to a new level entirely thanks to the soundtrack and the songs that the characters sing. It’s mesmerizing and expertly placed, effectively bringing the first and second half of the film together.

 B. Michael Jordan always brings his all to his roles, but he’s something else in Sinners, one of his best performances to date.  The actor plays Smoke and Stack as twins and gives each role subtle differences, giving Smoke and Stack their own personas supported by visual cues (like costuming differences). Jordan must display a plethora of emotion and physicality throughout the film. From being a shoot-out tough to a gentle lover, bitter and fearful, his performances are impactful at every turn.  Wunmi Mosaku is especially great, often matching Jordan’s energy and expressing so much through her eyes.

 The rest of the supporting cast is great, and their chemistry on screen is real. For any ensemble cast, the rhythms of their performances must mesh together, and in Sinners, I truly felt the camaraderie of the community.  And I have to shout out Miles Caton, who stood alongside such a great and experienced cast and didn’t miss a beat.

 Ultimately, Coogler’s latest is already one of my favorite films of the year and should be counted among the best of 2025.  I was taken to another place watching Sinners, and I have no doubt audiences will walk away having been moved and simultaneously entertained by this gripping, multifaceted story that deserves to be seen on the biggest screen possible and, ideally, more than once.

Ne Zha 2 best animation movie 2025 watch and download movie

 

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Currently the highest grossing animated film ever, this Chinese box-office obliterator is being touted as the long-awaited crossover point for the country’s mainstream industry.  Forget the adulterated, Communist party-sponsored attempts at blockbusters of the past, self-taught animator Jiaozi’s film is an utterly self-assured pageant of Chinese mythology that, with head-spinning visuals, is a fine technical advertisement for what the country is capable of, in this case on a comparatively small $80m budget.  despite the fact that despite the frantic flurry, there is still significant room for improvement. Two halves of the same celestial pearl, demon tyke Ne Zha (voiced by Lü Yanting) and do-gooder squire Ao Bing (voiced by Han Mo), are rebuilding their physical forms with the help of a sacred lotus. But they’re interrupted when their town Chentang Pass is invaded by razor-sideburned demon Shen Gongbao (Yang Wei), colluding with a gaggle of exiled dragons.  One of them is Ao Bing’s father, who should be embarrassed to find that interrupting the lotus ritual apparently dooms his son.  Therefore, Ne Zha must travel to Yuxu Palace with Ao Bing squatting to request assistance from the ovoid-headed immortal Master Wuliang (Wang Deshun). Yes, keep that Chinese mythology Wikipedia page open while watching.  Jiaozi effectively juggles lofty wuxia heroics with down’n’dirty humour among the commoners, like the demon octopus who barbecues his own tentacles for his troops to eat.  The main comedy outlet is Ne Zha – a kind of gremlin Astro Boy – bursting back into his own body when his supply of magic suppressant pills runs low.  Him and Ao Bing alternating as they battle a gang of club-wielding outlaw marmots is a highlight.  Amid a flurry of allegiance-switches and betrayals that only make semi-sense, the film’s sympathies increasingly align with demonic idiosyncrasy over immortal righteousness.

 This insignificant plea for misunderstood outsiders and recognition of difference smacks of Hollywood, even if the story is set in China. But so overwhelming is the artistry, it barely matters.  The main characters’ sassy mannerisms suggests Jiaozi has basic mastery of the Hollywood school of animation scripting.  But his visual range extends thrillingly: there’s a sublimeness to the work here, from the pagoda mountain of Yuxu Palace to a dazzling watercourse fight, that builds into almost scary extremes reminiscent of the apocalyptic leanings of Japanese anime.  It remains to be seen if the film will become a box-office bridgehead into American cinema, but the global dope-smoking contingent is surely one demographic that will love this wild and funny phantasmagoria.

 Beginning on March 21, Ne Zha 2 will be showing in movie theaters in the United Kingdom and Ireland.

Kudumbasthan the best Tamil movie 2025 download and watch this movie HD quality now

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Kudumbasthan Movie Synopsis: After losing his job right after his wife's pregnancy news, a graphic designer's attempts to maintain middle-class dignity lead to mounting debts.  His status-obsessed brother-in-law's constant judgment only complicates his predicament.

 Kudumbasthan Movie Review: Money has a way of turning family comedies into pressure cookers, and Kudumbasthan drops its hero — a freshly-jobless graphic designer — right into a mess of mounting debts, status anxiety, and a pregnancy announcement.  The result?  A sloppy but amusing chronicle of middle-class chaos that proves the creators of YouTube channel Nakkalites can stretch their comedy beyond bite-sized sketches — even if they sometimes strain in the process.

 The film follows a well-worn pattern: Naveen (Manikandan) marries Vennila (Saanve Megghana) of different castes, and both families curse the marriage registrar. But this isn’t your typical star-crossed lovers saga.  Instead, it's a launchpad into a year-long series of financial face-plants and ego bruises, starting with Naveen's spectacular workplace meltdown.  After slapping a jewellery company representative during a botched marketing pitch (a scene that plays out like a corporate comedy of errors), our hero finds himself unemployed, with his friend adding insult to injury by slapping their boss for good measure.

 The situation has never been worse. Vennila’s got an IAS dream in one hand and a positive pregnancy test in the other, while Naveen’s bank account is empty.  What follows is a parade of increasingly desperate schemes.  Naveen starts with a modest ₹20,000 loan that somehow multiplies into a ₹3 lakh debt, leading him through a series of misadventures: a doomed bakery venture that crumbles under competition, a real estate deal that goes south faster than winter birds, and various attempts to save face in front of his status-obsessed brother-in-law Rajendran (Guru Somasundaram, stealing scenes like they’re going out of style).

 Speaking of Rajendran – this chief engineer character is the film’s secret weapon.  His interactions with Naveen crackle with the kind of class tension that makes you simultaneously cringe and cackle.  Guru Somasundaram and Manikandan's chemistry reaches its peak during an ear-piercing ceremony in which Naveen's attempt to maintain status with borrowed jewelry fails, resulting in just the right amount of secondhand embarrassment. The awkward family gatherings, desperate attempts to conceal unemployment, and increasingly elaborate lies that accumulate like dirty laundry are all highlights of the film. There’s a hilarious sequence involving Naveen orchestrating his parents’ 60th wedding anniversary celebration through some creative manipulation of Rajendran, only to have it blow up in his face when his jobless status gets exposed in front of the entire family gathering.

 However, at two and a half hours, the movie is too long. The job-hunting sequences drag their feet, and the business ventures subplot feels more like a checklist than a coherent narrative thread.  You might find yourself wondering why a skilled graphic designer does not get another job. Logic takes more than a few coffee breaks. Manikandan keeps Naveen sympathetic even when he’s making decisions that would make a financial advisor weep.  Particularly in scenes where his pride collides head-on with reality, his performance treads a fine line between comedy and tragedy. Guru Somasundaram nails every beat as the pompous brother-in-law, turning each appearance into an exercise in well-timed condescension.  Saanve Megghana's debut performance in a small role is impressive. As Naveen's parents, Sundarrajan and Kudassanad Kanakam are hilarious. Kudumbasthan, like its protagonist, who discovers that family and honest work trump any get-rich-quick scheme, works best when it sticks to the basics, despite its detours. The film lands enough of its punchlines to keep the laughs coming.

 

Robots the best comedy movie 2025 watch and download this movie HD quality

 

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The animated film Robots follows Rodney Copperbottom, a young inventor, as he works for Bigweld, his idol, in the big city. When Rodney gets there, he finds that the company is now run by the cruel Ratchet, who has dark plans for the robots of the future. The film, narrated by Halle Berry, Ewan McGregor, and Robin Williams, combines humor and adventure as Rodney teams up with other odd robots to save their world.

Azaad Movie Review : A tale of resistance that falls short of its full potential

 

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Story: Govind becomes captivated by Azaad, a stallion owned by the rebel leader Vikram Singh.  Following Vikram’s death, Govind's destiny becomes intertwined with Azaad’s, set against the oppressive backdrop of British rule.

 Review: ‘Azaad’ is a film mounted on a grand scale that performs well in most departments.  The horse, which is central to the story, is certain to win your heart, and the plot keeps you interested. However, the burden of carrying the film by two newcomers becomes a bit much, and this reflects in the execution.  Set in British India, the plot revolves around Govind (Aaman Devgan), a stable hand working for Rai Bahadur (Piyush Mishra), a local Zamindar aligned with the British.  Govind becomes enchanted by Azaad, a formidable stallion owned by Vikram Singh (Ajay Devgn), a rebel opposing British rule.  Govind is given the responsibility of taking care of Azaad after Vikram dies. As Govind integrates the stallion into his life, tensions escalate when Rai Bahadur's men demand the horse’s surrender, leading to a climactic horse-riding challenge at the Ardh Kumbh fair.

 The movie manages to keep viewers interested despite having a fairly standard and linear plot. The presence of Ajay Devgn and the build-up to the storyline keep you engaged in the first half, but it isn’t until the second half that ‘Azaad’ finds its stride, culminating in a climax reminiscent of ‘Lagaan,’ though in a diluted form.  ‘Azaad’ distinguishes itself by placing a stallion at the heart of its narrative—a refreshing choice after a long time.  The film features a thrilling horse-riding sequence during its climax, enhanced by excellent cinematography and Amit Trivedi's commendable music.  However, the conflict between the protagonist and antagonist is sporadic and lacks significant tension in the script. As Vikram Singh, Ajay Devgn delivers a convincing performance as a rebel leader. Similarly, Mohit Malik’s depiction of Tej Bahadur, the Zamindar's son, impresses with his menacing demeanour.  The sincere efforts of Aaman Devgn and Rasha Thadani are evident, but a period film required more from them. There is clear potential for improvement.  Diana Penty, as Kesar, delivers a sincere performance, adding depth to the supporting cast.  Yet the true standout is Azaad, the stallion, whose presence commands the screen.  Amit Trivedi, after a long gap, has delivered some commendable scores.

 "Azaad" has moments of excitement, but it has trouble maintaining constant tension. The film underutilizes the potential of depicting the British officers' brutality, which could have heightened audience investment in Govind’s climactic horse-riding challenge.  Director Abhishek Kapoor's restrained approach results in a film that feels partially realized, missing its full potential.  Although "Azaad" has its moments of grandeur, the film lacks overall emotional and narrative payoff. It is a grand spectacle with noble intentions but leaves a muted impression.