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Thursday, July 31, 2014

MUSIC MOJO SONGS FREE DOWNLOAD FROM KAPPA TV

MUSIC MOJO SONGS


Nostalgia by Thaikkudam Bridge






Eeran Megham - Neha Nair 
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Fish Rock by Thaikkudam Bridge
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Rajahamsame - Shweta Mohan f. Bennet 
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Ilayaraja Medley by Thaikkudam Bridge
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Neermizhi peeliyil by Job & Neha
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Kaithola - Vidwan - Music Mojo Season 2
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Melle Kollum - Job & Neha
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Malayalam Medley by Thaikkudam Bridge
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Veruthey by Neha - Music Mojo
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Kaadhalan by Traffic Block  
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Shiva by Thaikkudam Bridge
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Tum hi ho - Deepak Kutty  
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Chekkele by Pathayam - Music Mojo
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Vaan Megham by Manjari - Music Mojo
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Aayiram Kannumaayi - Najeem Arshad
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Sundari by Traffic Block
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Kaanan Kannu by Job
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Ennamo Yedho - Project YUJ feat Aalaap Raju
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Nee en sarga soundaryame
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Rahman Medley by Thaikkudam Bridge
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Boat song by Agam  
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Priyanu mathram by Shweta Mohan

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Vennilavo - Job Kurian
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Ariputhari by Pathayam
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Munbe vaa - Masala Coffee
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Mitkar Bhi Mohabbat Mein by Gayatri  
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Mazha Kondu Mathram by Gayatri 

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Dhanashree Thillana by Agam
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Kuttanadan kayalile - Haricharan w. Bennet & the band
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Raasathi by Job Music Mojo Season 2
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 Omanathinkal Kidavo by Asima
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Sughamanee Nilavu by Acoustika
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Poonkattinodum by Dasan & Vijayan
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Samkritha pamagari Shweta Mohan
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Chinna chinna | En mael by Staccato
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Sakhiye - Gowry Lekshmi
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Mandarakkatte by Neha
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Ee Solomanum Shoshannayum
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Aatinkarayorathu by Manjari
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Toddy - Vidwan
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Ennavale - Pradip Somasundaran
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Aaromale AR Rahman
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Adipoli - Sherrin Varghese
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Kavile pennae - Vidwan
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Godfather & Co. - Thaikkudam Bridge
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Anjali anjali - The South End
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Theeye Theeye (Rex Vijayan)
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Onnam Manikkinattilu by Nattupolima  
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Masakkali - Benny Dayal & Funktuation

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Thirike - Bijibal's Down to Earth  
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Alaipayuthey Haricharan w Bennet
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Appozhum paranjille - Thaikkudam Bridge
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Poo pookkum osai - Shweta Mohan f. Bennet
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Pazhamthamizh paattizhayum  
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Humma humma - Benny Dayal & Funktuation

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Enundodi by Sithara
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Thendral Vandhu by Tat Tvam Asi
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Muthumazha konjal pole by Acoustika
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Vathapi Ganapathim by Blue fire
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Poove - Stephen Devassy f. Sooraj
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Kanneer poovinte by Job
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Onnam raagam paadi by Neha
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Tuesday, July 29, 2014

KICK HINDI MOVIE FULL SONGS FREE DOWNLOAD

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Wednesday, July 23, 2014

MANGLISH MALAYALAM MOVIE SONG FREE DOWNLOAD

MANGLISH MALAYALAM MOVIE SONG


Malayalam Movie Manglish 2014 - Dulquer Salman Singing For Mammootty


Ulla Ulla Ulla Song
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SHANKARABHARANAM MOVIE SONGS FREE DOWNLOAD

SHANKARABHARANAM MOVIE SONGS


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Shankara Naadasharirapara - Sankarabharanam  




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Sa Ri Ga Ri - Sankarabharanam - Manju Bhargavi  





Dorakuna Ituvanti Seva - Sankarabharanam - Manju Bhargavi





Ye Teeruga Nanu - Sankarabharanam  





Raagam Taanam Pallavi - Sankarabharanam

SPB & ILAYARAJA TAMIL HIT SONG COLLECTION

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Superhit Romantic Songs Of Lata Mangeshkar & S. P. Balasubrahmanyam





Vanthenda Paalkaren




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Mannil Indha Kadhalandri





En Aasai Ninaivil (Best hit song by SPB)






O Priyathama | S. P. Balasubrahmanyam, K. S. Chithra
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Ponnula Ponnula - Chittukuruvi
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Idho Idho En Pallavi - Sigaram
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Nimmathi Enna Vilai(SPB Sad Song)
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Oru Vattom Koodi




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Swagatham Krishna - Yesudas




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Harivarasanam-Original Sound Track






Ambalamillathe.Aaltharayil.Vaazhum






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Nithyanidhaname.






Thaaye Yeshode - Classical Music





Samaja Varagamana - Yesudas





Vathapi Ganapathim Bhajeham





 Navarasa Sumamalika






YESUDAS CLASSICAL HITS JANAKI JANE RAMA





Sangeethame.





RAGUVAMSA PADE




Dr K J Yesudas -- Nagumo






Vathapi Ganapathim Bhajeham





Thumbikkaramathil....K.J Yesudas





UDICHUYARNNU MAMALA MELE
 

SHREYA GHOSHAL HIT SONGS FREE DOWNLOAD

SHREYA GHOSHAL HIT SONGS


Shreya Ghoshal Malayalam




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Pattil Ee Pattil By Shreya Ghoshal





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Kurumozhiyude





Arikilumilla nee Shreya Ghoshal





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"Nilave Nilave"





Raat Bhar 




Tere Naina Maar Hi Daalenge"




Rim Jhim






Piyu Bole - Parineeta 
 




THAIKUDAM BRIDGE MP3 SONGS FREE DOWNLOAD

THAIKUDAM BRIDGE MP3 SONGS


Nostalgia by Thaikkudam Bridge



Fish Rock by Thaikkudam Bridge





Ilayaraja Medley by Thaikkudam Bridge






Shiva by Thaikkudam Bridge - Music Mojo Kappa TV





Beat it by Thaikkudam Bridge - Music Mojo Kappa TV





Malayalam Medley by Thaikkudam Bridge - Music Mojo





Rahman Medley by Thaikkudam Bridge - Music Mojo




Jam by Thaikkudam Bridge - Music Mojo Kappa TV




 Thaikkudam Bridge - Aerials - Music mojo





Godfather & Co. - Thaikkudam Bridge - Music Mojo  





Appozhum - Thaikkudam Bridge - Music Mojo Season 




Haq Allah by Thaikkudam Bridge Music Mojo Kappa TV





Thekkum kooradiyathi by Thaikkudam Bridge - Music  


 

Tuesday, July 22, 2014

LATEST MALAYALAM MOVIE MANGLISH TRAILOR

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MALAYALAM ALBUM SONGS FREE DOWNLOAD

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Poomaram poothulanje.  
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melemanathe... malayalam album songs
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Nenjodu cherthu 
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Malayalam album Sundari nee vannu
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NJAAN KETTIYA PENNU





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East coast evergreen album song collection free download

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Nilayil Nila | Mazhayay Album Song  





Onninumallathe Enthino - Ninakkai





Ishtamanennadyam - Song




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Poovu Chodhichu | Ennennum




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Ormayilundenikkinnum Onam



ONNINUMALLATHE





Enna Karuppin - Ninakkai-Balabhaskar





Karalin Polive




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Ishtam..Enikkishtam..




 

 

MR FRAUD malayalam movie song free download

MR. FRAUD MOVIE SONG DOWNLOAD


Sadaa Paalaya Song.


Khuda Oh Khuda Song
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Poonthingale Song
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Mr. Fraud Theme Song.
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Saturday, July 19, 2014

Banglore days movie song download

click the below link and download


Bangalore Days Wedding Song
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Aethu Kari Raavilum
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Ente Kannil Ninakkaai
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Nam Ooru Bengaluru
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Thumbi Penne
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New Malayalam love song. Bangalore days.nazriya
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7 TH DAY MOVIE SONG DIRECT DOWNLOAD

 CLICK ON THE BELOW LINK AND DOWNLOAD

ORU KADHA
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I ll be There For You Song
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Ithu Jeevitham
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Title song
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Friday, July 18, 2014

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Wednesday, July 16, 2014

Transformers: Age of Extinction Movie review 2014.In theatres now


Transformers: Age of Extinction Movie review


 

Transformers: Age of Extinction, 2014.
Directed by Michael Bay.
Starring Mark Wahlberg, Victoria Summer, Stanley Tucci, Kelsey Grammer, Nicola Peltz, Jack Reynor, Titus Welliver and Li Bingbing and featuring the voice talents of Peter Cullen, Frank Welker, John Goodman, Ken Watanabe and Mark Ryan.

SYNOPSIS:
An automobile mechanic and his daughter make a discovery that brings down the Autobots – and a paranoid government official – on them.

During my screening of Transformers: Age Of Extinction I could hear a man a few rows away from me talking out loud. I looked over and saw he was telling the kid behind him to stop kicking his chair; the kid didn’t hear him at first so he spoke a bit loud and the message was understood. It dawned on me at this point that this brief dialogue between two strangers had captivated my attention in a way the action on screen had failed to for the past two hours.
I welcomed the distraction. Finally something was happening in the room which wasn’t a total bore. I kind of hoped the person behind me might start kicking my chair too, but they were selfishly well behaved and that brief respite away from the film was denied.
Never has a film shown us so much yet, at the same time, given us so little as Transformers: Age Of Extinction. Director Michael Bay throws everything at the screen during a running time longer than any of his three previous entries in the series, using up every last cent of the reported $200+ million budget to deliver state-of-the-art special effects which must have taken each of the creative artist all of the talent and skill to design and create, but fails to meet even the most basic, entry-level results you would expect. Bay’s attitude towards this forth film is strikingly lackadaisical for a man who has become the king of pushing the limits of on-screen chaos (or ‘Bayhem’ as it has become known); whereas before directors like Peter Berg or Zack Snyder have clearly been influenced by (or plaintively copied) his style, Bay has now made a film which looks like a imitation of his own style.
There is not one scene of innovative action or style in Transformers: Age Of Extinction which Bay has become famous for. I have often said ‘love him or hate him, no one does carnage like Bay’ but with his latest film he’s simply phoned it in which is something he couldn’t be accused of before. Each set piece is the same as the last in terms of look, setting, execution, lack of tension, lack of excitement, and lack of awe. As much as I disliked the last Transformers film, it did have a five minute sequence of sheer brilliance as a skyscraper collapses and the humans must hang on for dear life and Bay showed his best action direction since The Rock 15 years before. Bad Boys II was a nasty, gross film but damn it if that highway chase with the car transporter isn’t still one of the most pulse-pounding and innovative car chases I ever seen. Even the first Transformers film had some decent sequences before it gets out of control, showing the audience CGI magic the likes of which we’d not seen before.
Yet Bay offers us precisely nothing here except his complete lack of understanding as to what makes an action sequence work. There is no tension, there is no build-up or gradual escalation, and there are no stakes. Sadly he seems to think shooting at the magic hour automatically makes a scene resonate with emotion but it’s all for effect and never for story with Bay. Moreover, with everything looking so false and fake for the majority of the film, the sunsets and red skies have no appeal and look as flat as the rest of the film.
Moreover, the film not only causes chaos in Chicago again but moves the action to Hong Kong for no other reason than to sell tickets in Asia. OK, this is a wise move from a financial perspective on Paramount’s part but Bay takes absolutely zero advantage of the change of location. In a James Bond or Mission: Impossible film the film makers would make the sequences unique to the locations, but in Transformers it’s just another load of tall buildings to destroy. And the product placement is obscene throughout the film without the slightest attempt to make it part of the film. I won’t lay all the blame on Bay here but someone needs a slap across the face for forcing this level of blatant and constant brand exposure into any movie.
At 166 minutes, the film is agonisingly too long for the story it is trying to tell, but what makes it even worse is the screenplay by Ehren Kruger, the man who penned the previous two films in the series. In the hands of Kruger and Bay the film easily has at least one awful moment during every minute of screen time; whether it is a camera angle or movement which makes no sense in context with the scene, and atrocious line of dialogue, awful acting, an attempt at humour which falls flat, a music cue which makes you cringe, character motivations which are idiotic even for this franchise, or making the plot (such as it is) become ever more unfathomable. That’s a minimum of 150 uniquely awful moments if you minus the final credits.
I couldn’t list all the issues I had with the film because my memory is actively pushing them out as I write this review, but here’s some which are proving hard to forget:
The language is revolting for a film aimed at kids and the ‘family ticket’ with Transformers saying ‘bitch’ ‘ass’ ‘I really want to kill someone’ ‘I want some scalps’ and a human dropping the F-bomb and advising to run over innocent people whilst they make an escape.
  • The inclusion and discussion of statutory rape in a film about aliens which transform into cars.
  • The objectification of yet another female lead.
  • Why do we need to see a man’s burnt corpse in this film?
  • Why do any of the humans, and in particular the daughter and boyfriend, go to Hong Kong? What purpose can they possibly serve?
  • Eye gouging and violent fist fights in a film based on toys and cartoons.
  • A Transformer smoking a metal cigar – How and Why?
  • Optimus Prime can fly – Why was this not used before?
  • Who are the massive robots and why do they transform into dinosaurs and how can they breathe fire?
  • The entire plot. Nothing makes sense.

 



Transformers: Age of Extinction Movie Review

Cast:Mark Wahlberg, Stanley Tucci, Kelsey Grammer
Director: Michael Bay
Writer: Ehren Kruger

SPOILERS ALERT

Crash. Shatter. Boom. Crash. Shatter. Boom. Smattering of silly dialogue. Pretty girl screams: "Dad!" Crash. Shatter. Boom. Silly dialogue. "DAD!!!" Crash. Shatter. Boom.

What? Oh, sorry. We were falling into a trance there.

Which is, dear moviegoer, what may happen to you during Michael Bay's Transformers: Age of Extinction, the fourth Transformers film and, at 165 minutes, precariously close to the three-hour mark that Bay undoubtedly will reach — by our sophisticated calculations - and at the current growth rate, with his sixth installment.

But let's not get ahead of ourselves. Despite what you've just read, this film will likely be a massive hit because by now, if you're buying a Transformers ticket, you surely know what you're getting into, and you want more, more, more. And Bay is the Master of More.

Or just take it from the 11-year-old sitting next to me, who reserved any audible judgment — he, too was in a trance, though maybe from sugar intake — until the moment he saw a Transformer become a dinosaur. Overwhelmed by the pairing, he proclaimed: "That's the sickest thing I've ever seen in my life." It was as if peanut butter and jelly had been tasted together for the first time.

While you ponder where between these extreme reactions you'll fall, a quick update. This time, there's a whole new human cast. Most important, Mark Wahlberg has replaced Shia LaBeouf as, well, Main Human Guy, and the good news is that Wahlberg's grounded quality, rough charm and really nice biceps make him a thoroughly welcome presence. The bad news: He isn't immune to the numbing effects of some desperately cheesy dialogue (Ehren Kruger wrote the screenplay).

A significant part of the movie also takes place in China — clearly a nod to the franchise's huge market there. Whether such obvious wooing of the Chinese audience will work or backfire — the film also includes very obvious placement of Chinese products — remains to be seen.

In any case, we begin in Paris, Texas, where Cade Yeager (Wahlberg), a struggling inventor, is desperately seeking a big discovery. He's also a widowed dad, and super-protective (as the movie incessantly reminds us) of his high-school daughter, Tessa (Nicola Peltz, blond and pretty and ineffective, though the one-note script does her no favors).

One day, Cade buys a rusty old truck. Examining it back home, he soon discovers it's none other than Optimus Prime, the Autobot hero, seriously damaged.

As Cade works on fixing him up, his assistant, wisecracking surfer-dude Lucas (T.J. Miller, mildly amusing), has the dumb idea of calling the authorities. What he doesn't know is that the government — actually, the head of CIA black ops, Harold Attinger (Kelsey Grammer, expertly villainous) — is plotting to destroy all remaining Autobots in favor of a man-made army of Transformers. He's being helped in this endeavor by the shadowy KSI corporation, run by the nasty-but-complicated Joshua Joyce (Stanley Tucci, giving the most entertaining performance in the film).

So now, it's evil humans pitted against the trustworthy Autobots. So much for gratitude. There's also a subplot involving Tessa and her secret boyfriend, Shane (Jack Reynor, underused), whose Irish accent leads Cade to dismissively call him "Lucky Charms" — at least until the two bond in battle.

From here, it's up to you. You can try to follow the ins and outs of the battling forces — robot and human, man-made and alien, ancient and modern — or just watch things crash into each other, blow up, or both.

The obvious question: is it too much for its own good? Bay is very talented at all things visual, the 3-D works well and the robots look great. But the final confrontation alone lasts close to an hour, and at some point, you may find yourself simply in a daze, unable to absorb any further action into your brain.

But one viewer's migraine is another's euphoria. You decide.

Transformers: Age of Extinction, a Paramount Pictures release, is rated PG-13 by the Motion Picture Association of America for "intense sequences of sci-fi violence and action, language and brief innuendo." Running time: 165 minutes. One and a half stars out of four.

 

Dawn of the Planet of the Apes” movie review 2014, In theatres now.....

Dawn of the Planet of the Apes” movie review

 

Perhaps The Simpsons said it best, when Troy McClure starred in the musical Stop the Planet of the Apes, I Want to Get Off! By that point, the magic of the original film had long since been tarnished by its sequels — there were four of them — which came fast and furious, each more middling than the last as the creation of this new ape world order was explained by way of a time paradox that put the notion of “the chicken or the egg” to shame.
dawnOfPlanetApes1
Dawn of the Planet of the Apes
I’ve no issue with Hollywood attempting to tell the PotA story from a different, more plausible point of view. With 2011′s Rise of the Planet of the Apes, director Rupert Wyatt did just that, eking out an emotionally resonant tale of a scientist (James Franco) and Caesar (Andy Serkis, in motion-capture mode), the genetically modified, super-intelligent ape he inadvertently gives rise to. You could forgive the artificial feel of the CGI apes (nothing will ever replace the sheer ingenuity of the original’s makeup) because the core story clutched at the viewer’s emotions as tightly as a hungry chimp clutches a banana.
The sequel, Dawn of the Planet of the Apes (starstar), directed by Matt Reeves, also grips you, but this time in the jaws of boredom. The CGI has improved, the robust action set-pieces are outsized — both a byproduct of an increased budget — but the movie is written as though clichés were the stuff of Oscar gold.
Dawn of the Planet of the Apes
Dawn of the Planet of the Apes
Ten years have passed and an unimaginable number of intelligent monkeys are doing their business in the Muir Woods, where they’ve displayed talent for grand architectural design. When humans — most of whom were killed by the same man-made virus that allowed the monkeys to evolve — reemerge, battle lines are drawn. Who do you think comes out on top? (Hint: “Planet of the Humans” has no zing.) The movie strives for sociological depth in the peace-loving Caesar’s somber realization that not all apes are good and not all humans are bad. A spider monkey could have written a less obvious screenplay.
Dawn exists solely as a plot mover: it needs to force its major players into position for what is currently known on IMDB as Untitled Planet of the Apes Sequel, a title I pray they keep. Eventually, apes will prevail, develop British accents, and clothe themselves in drab-colored leisure suits. Then, Charlton Heston (or maybe Mark Wahlberg) will arrive from the past to bark that now-legendary imperative, “Get your hands off of me, you damn, dirty ape.”
In 1968, the sight of marauding, talking simians on horseback, wrangling humans, was the stuff of which a 10-year-old’s science fiction dreams are made. It was evolution upended, a Darwinian practical joke. But with the Dawn of the Planet of the Apes, the joke’s on us.
Dawn of the Planet of the Apes (rated PG-13 for violence but no monkey business) is now playing at area theaters.
YNOPSIS:
A growing nation of genetically evolved apes led by Caesar is threatened by a band of human survivors of the devastating virus unleashed a decade earlier. They reach a fragile peace, but it proves short-lived, as both sides are brought to the brink of a war that will determine who will emerge as Earth’s dominant species.
dawn_of_the_planet_of_the_apes_43850
There is always a sense of apprehension and cautious pessimism whenever directors and lead actors get shuffled around in the sequel to a commercially and critically acclaimed successful film. Dawn of the Planet of the Apes was fighting an uphill battle on both of those accounts, on top of having some worrisome spots in the trailers featuring gun toting apes on horseback. Would this be a cinematic blockbuster with style and substance – similar to its predecessor Rise of the Planet of the Apes – or would the sequel embrace full-on spectacle?
Thankfully, director Matt Reeves (Cloverfield) and the studios behind the project understood exactly what made the first film such a surprise gem; emotion and the grace to treat the audience to not just a fun time at the movies, but something much deeper below the surface.
Putting that into perspective, when Dawn of the Planet of the Apes reaches its boiling point between the humans and intellectually mutated titular apes, the battle scenes of the war actually fill the viewer with sadness, and the sensation that the turmoil could have been avoided, rather than use the war as a vehicle to showcase entertaining and impressive looking action sequences. That’s not to say the action isn’t fun, but like its predecessor, Dawn of the Planet of the Apes manages to capture a humanistic quality that successfully engages the audience into the story.
Before all of the extended action sequences and Hollywood blockbuster theatrics, the film manages to spend around 90 minutes building its characters – both humans and apes – and the growing tensions between the two factions. Perhaps what is most fascinating is how the film actively tries to subvert cornering its major characters into clichés. Gary Oldman for example plays a leader to the remaining ALZ-113 virus immune survivors, but he isn’t a stereotypical villain that is distrusting of the apes for over-exaggerated reasons. It’s actually a shame he wasn’t given more screen time, because what he does with this time given to flesh out his back-story and motives is phenomenal.
It doesn’t end with just Gary Oldman either, as again pretty much every character pivotal to the eruption of the inevitable war has justifiable reasons for the way they think and their actions. After having witnessed all of the torture Koba had suffered through at the hands of humans in the preceding film, it’s understandable why he may feel betrayed at times in response to Caesar allowing the humans into their homely woods so that they can start up a hydroelectric dam and give the city of San Francisco power. It’s admittedly somewhat of a cliché plot device, but the excellent execution is the difference maker.
When something is given a greater context, it’s simply just easier to look past the fact that part of the plot you are seeing is textbook Hollywood 101. In the case of Dawn of the Planet of the Apes, it’s hard not to let your mind wander off into drawing parallels between the escalation of the turmoil between humans and apes, to that of real-life political struggles going on in the world today. Ultimately, you just want to see factions find common ground and band together to collectively make the world a better place, not witness distrust and miscommunication that leads to a never-ending series of violence. And when war unfortunately breaks out, your faith in the human race – or in this case both humans and apes – dwindles a bit. All you’re left with is chaos that could have been avoided if we were more willing to trust each other.
That’s what makes Dawn of the Planet of the Apes stand out as a provocatively entertaining summer blockbuster, but far from the only reason the film is such a masterpiece. Simply put, this movie has the most stunning CGI ever put forth into a film; if it doesn’t win a few Oscars for special effects something is wrong with the Academy. Dawn of the Planet of the Apes is the only movie in existence where the CGI can actually take the viewer out of the experience, not because the special effects are clearly animated, but because it’s astonishingly unbelievable that you know what you’re seeing isn’t real, yet it may as well be. The apes are seriously that detailed in both their appearance and animation. Furthermore, they are also highly distinguished from one another, making it gloriously simple to tell the difference between say, Caesar and Koba.
The motion capture is truly outstanding, as well as all of the performances from revered motion capture actors such as Andy Serkis. If there were ever a performance to come along that could present a case for a motion captured performance to be eligible for an Oscar, it’s Andy Serkis as Caesar. He will make you feel every struggle, emotion, and challenging decision that must be made.
If you couldn’t tell, Dawn of the Planet of the Apes is more than your average summer blockbuster, it’s a phenomenal piece of socially relevant story-telling that just happens to look gorgeous and be endlessly entertaining. Hail Caesar!