Forrest Gump (1994)-A beautiful fable for now and the future

What I find completely ridiculous is why this movie, in my opinion one of the best ever, has such a low rating, so I've tried to figure out what some found against it.I noticed that the haters of this movie who make it have a lower rating than it actually deserves mainly argue that it promotes the government's politics of submission: the idea that "if you're an idiot but you do what you're told then you will be rewarded, but, if you experience life then you're going to die a miserable death." I'm not an American myself so i don't have any intention to defend the government or anyone else, but I think that the political events witnessed by the character in the movie make many miss the whole substance of the film. I think these bits of history only add to the magic of the film, making Forrest part of a fantastic world that seems so incredibly real though.

How can somebody say that Forrest is just an idiot, an ordinary person who does everything that he is told to do? It appears to me that in fact,in his innocence, Forrest does what he feels he has to do,no matter the situations and the people around him, lead only by an inner sense of right. So what actually seems to be special about Forrest is that, regardless of his intelligence, he has the capacity to discover simple truth and life values that all the others around him miss: he tries to save Bubba endangering his own life, he gives Bubba's family money and mainly displays simple goodness in everything he does.

So if you haven't yet seen the movie or you were disappointed by it, try watching it without analyzing things that much and just open your heart towards that world. The brilliant humour, the hilarious yet touching acting, the special effects and the uplifting message are totally rewarding.

Delhi Belly-----2 thumbs up for kunal roy kapoor and 5 thumbs up for this movie,both r awsm

Abhinay Deo's amiable urban comedy thriller "Delhi Belly" has more crossover appeal than many Bollywood productions. It's primarily in English, and it runs just 103 minutes, brief for Indian movies. Akshat Verma's script is imaginative and funny, the film's stars are engaging and "Delhi Belly" adds up to pleasing escapist fare.

Tashi (Imran Khan), Nitin (Kunaal Roy Kapur) and Arup (Vir Das) are three pals sharing a truly squalid New Delhi flat and struggling to get ahead. Handsome Tashi is a journalist who often works with Nitin, a shaggy, rotund photographer; Arup is a cartoonist whose boss is a pompous numskull.



At the New Delhi airport a smuggler mistakes Soniya (Shenaz Treasurywala), Tashi's airhead nouveau riche fiancée, for his contact, asking her to deliver a package that happens to contain 30 magnificent diamonds. She agrees, then casually asks someone else to do the task. In no time the three friends are targeted by a suitably cold-blooded criminal and his gang.

Although there are moments when Deo might have had a lighter touch, writer-assistant director Verma provides a steady and amusing flow of complications with Nitin's attack of Delhi Belly — food poisoning — proving an earthy running gag. The trio are a pretty amoral group in the face of the harsher realities of New Delhi life, but a subplot involving Nitin's attempt at blackmailing a hapless neighbor has a happy ending.

"Delhi Belly." No MPAA rating. In English and Hindi with English subtitles. Running time: 1 hour, 43 minutes. At selected theaters.

Black Swan--------hattttts off for the director to attempt such a great story

Black Swan is an awsm flick to watch,a great work of art ,coreografy and performance,i have not enough words to describe the beauty of this film,u must watch this once in your lifetime,,,,.

THE WAY(2010)====what a soulfull flick,really ***

Before saying anything i want to salute the location designer and cinematographer of this movie,""camino de santiago"" is beautiful place,whenever i got a chance to go there i would really want to make this possible.

There’s not a whole lot about Emilio Estevez’s The Way that doesn’t ring true. Given the fact that the film tackles some of life’s deepest emotions and largest themes–grief, love, faith, community–that’s quite a compliment.

Martin Sheen plays Tom Avery, an American ophthalmologist who receives word that his son has been killed while walking the Camino de Santiago, a pilgrimage trail in the Pyrenees mountains between France and Spain sometimes referred to as The Way of Saint James. Perhaps impulsively or perhaps in desperation, Tom decides to walk the pilgrims’ trail himself, to finish the journey his son began.

Obviously, such a role calls for an actor of immense talent, both to convey the depth and layers of feeling of a parent mourning his child and to eschew the more melodramatic histrionics that would cause such material to become overly and overtly sentimental. Sheen, one of our national acting treasures, is perfect for such a part, bringing it gravity but also dignity. I love that in introducing a movie about fathers and sons, rituals and traditions, Estevez chose to describe Sheen by borrowing from another famous director, John Huston, talking about his own father. “He never tried to sell you something.” The film needs that kind of iconic confidence at its center, because for long periods Tom, in his grief, goes inside himself, and the film must have the confidence to let him, to allow us to be one of the community with him, each broken in his or her own way, each striving for understanding, light, and hope.

Do you want to know one thing that is true about grief? Movies tend to think that what we remember and treasure in our hearts are the big gestures people make to acknowledge the hugeness of our loss. But that’s not the case. What stays with you are scores of small kindnesses from people that remind you that life is worth living, that in our sadness, our emptiness, and our poverty, most people can be very, very decent. “To be kind,” George MacDonald once wrote, “neither hurts nor compromises.” It may be the only thing that doesn’t.

Estevez talked rather self-effacingly at the Toronto International Film Festival of not directing his father, of surrounding himself with talented people and “getting out of the way.” He did direct, Sheen insisted. It’s easy enough to see how both descriptions are true. In a post-Cahiers film world, we take certain theories of auteurship for granted. Our picture of the director is of someone who, Hitchcock-like, plans and controls every detail of the film in his head. Estevez spoke of making a film about community by making a community, using natural light, shooting in Super 16 and making technical choices appropriate to the thematic content of the film. These are directorial decisions that shape the film and were appropriate, but the creation of a community of like-minded people pursuing a goal should not be underestimated. The care and compassion these people have for each other reaches beyond performance and says something about the material’s and location’s ability to affect actors and not just vice-versa. I wish he hadn’t used the device of having the father occasionally “see” his dead son, but–as one viewer stressed to me–that (hearing/seeing those who are absent) is an experience, hinted at by other characters in the film which is not uncommon to those who are grieving.

In circles in which I sometimes converse, there have been, for as long as I can remember, discussions about Christians in the art, about how to get more films that are faith friendly and about the corrosive moral effects of “Hollywood” or the “Hollywood culture.” Every now and then, though, I’ll run across a song like Leonard Cohen’s “If It Be Your Will” or a film like The Way, that not only puts “Christian” films to shame but that makes me exasperated at the whole notion of “Christian” as an identity politics genre. If you want more great Christian art, go find great artists and support them in their desire to speak, write, and represent the truth. Hollywood is made up of people–many of whom, it turns out, are more complex, interesting, and thoughtful than we might guess based on nothing more than a quick glimpse of their IMDB filmography.

One audience member at the Toronto Film Festival who had done this pilgrimage himself spoke glowingly of how the film’s latter scenes captured perfectly the experience of arriving in Santiago de Compostela. The Way is the first non-documentary film granted permission to film inside the church, and the scenes of the pilgrims arriving, how each responds to the rituals, to each other, and to the dawning realizations that they are neither the first nor the last to walk the path they’ve walked or bear the burdens they’ve borne, is as deeply moving and passionately spiritual a moment as you are likely to get in commercial, narrative film. You know what would be a little miracle that would make me happy? If Christians who wanted to “send Hollywood a message” with their pocketbooks would eschew boycotting the next “R” rated slezefest that gets them all tied up in knots and try the reverse for once. Pick up the phone and call your favorite studio and say, “I’ve got $10 and I really want to see this movie.”

Hey, it’s worth a try. Turns out The Way–here’s the kicker–doesn’t yet have a major distribution deal.

The Way is funny, sad, somber, and, above all, true. It is life-affirming in most of the best senses of the phrase. It’s easily one of my favorite films of the year thus far. If you get an opportunity to see it, seize it. You won’t be sorry. It you don’t, that’s okay, too, just so long as you promise not to complain that there’s nothing but sex and explosions at the multiplex these days.

83rd Annual Academy Awards--winners list

Best Motion Picture of the Year
WINNER
The King's Speech (2010): Iain Canning, Emile Sherman, Gareth Unwin
Other Nominees:
127 Hours (2010): Christian Colson, Danny Boyle, John Smithson
Black Swan (2010): Mike Medavoy, Brian Oliver, Scott Franklin
The Fighter (2010): David Hoberman, Todd Lieberman, Mark Wahlberg
Inception (2010): Christopher Nolan, Emma Thomas
The Kids Are All Right (2010): Gary Gilbert, Jeffrey Levy-Hinte, Celine Rattray
The Social Network (2010): Scott Rudin, Dana Brunetti, Michael De Luca, Ceán Chaffin
Toy Story 3 (2010): Darla K. Anderson
True Grit (2010): Ethan Coen, Joel Coen, Scott Rudin
Winter's Bone (2010): Anne Rosellini, Alix Madigan
Best Performance by an Actor in a Leading Role
WINNER
Colin Firth for The King's Speech (2010)
Other Nominees:
Javier Bardem for Biutiful (2010)
Jeff Bridges for True Grit (2010)
Jesse Eisenberg for The Social Network (2010)
James Franco for 127 Hours (2010)
Best Performance by an Actress in a Leading Role
WINNER
Natalie Portman for Black Swan (2010)
Other Nominees:
Annette Bening for The Kids Are All Right (2010)
Nicole Kidman for Rabbit Hole (2010)
Jennifer Lawrence for Winter's Bone (2010)
Michelle Williams for Blue Valentine (2010)
Best Performance by an Actor in a Supporting Role
WINNER
Christian Bale for The Fighter (2010)
Other Nominees:
John Hawkes for Winter's Bone (2010)
Jeremy Renner for The Town (2010)
Mark Ruffalo for The Kids Are All Right (2010)
Geoffrey Rush for The King's Speech (2010)
Best Performance by an Actress in a Supporting Role
WINNER
Melissa Leo for The Fighter (2010)
Other Nominees:
Amy Adams for The Fighter (2010)
Helena Bonham Carter for The King's Speech (2010)
Hailee Steinfeld for True Grit (2010)
Jacki Weaver for Animal Kingdom (2010)
Best Achievement in Directing
WINNER
Tom Hooper for The King's Speech (2010)
Other Nominees:
Darren Aronofsky for Black Swan (2010)
Ethan Coen, Joel Coen for True Grit (2010)
David Fincher for The Social Network (2010)
David O. Russell for The Fighter (2010)
Best Writing, Screenplay Written Directly for the Screen
WINNER
The King's Speech (2010): David Seidler
Other Nominees:
Another Year (2010): Mike Leigh
The Fighter (2010): Scott Silver, Paul Tamasy, Eric Johnson, Keith Dorrington
Inception (2010): Christopher Nolan
The Kids Are All Right (2010): Lisa Cholodenko, Stuart Blumberg
Best Writing, Screenplay Based on Material Previously Produced or Published
WINNER
The Social Network (2010): Aaron Sorkin
Other Nominees:
127 Hours (2010): Danny Boyle, Simon Beaufoy
Toy Story 3 (2010): Michael Arndt, John Lasseter, Andrew Stanton, Lee Unkrich
True Grit (2010): Joel Coen, Ethan Coen
Winter's Bone (2010): Debra Granik, Anne Rosellini
Best Animated Feature Film of the Year
WINNER
Toy Story 3 (2010): Lee Unkrich
Other Nominees:
How to Train Your Dragon (2010): Dean DeBlois, Chris Sanders
The Illusionist (2010): Sylvain Chomet
Best Foreign Language Film of the Year
WINNER
In a Better World (2010): Susanne Bier(Denmark)
Other Nominees:
Biutiful (2010): Alejandro González Iñárritu(Mexico)
Dogtooth (2009): Giorgos Lanthimos(Greece)
Incendies (2010): Denis Villeneuve(Canada)
Outside the Law (2010): Rachid Bouchareb(Algeria)
Best Achievement in Cinematography
WINNER
Inception (2010): Wally Pfister
Other Nominees:
Black Swan (2010): Matthew Libatique
The King's Speech (2010): Danny Cohen
The Social Network (2010): Jeff Cronenweth
True Grit (2010): Roger Deakins
Best Achievement in Editing
WINNER
The Social Network (2010): Kirk Baxter, Angus Wall
Other Nominees:
127 Hours (2010): Jon Harris
Black Swan (2010): Andrew Weisblum
The Fighter (2010): Pamela Martin
The King's Speech (2010): Tariq Anwar
Best Achievement in Art Direction
WINNER
Alice in Wonderland (2010): Robert Stromberg, Karen O'Hara
Other Nominees:
Harry Potter and the Deathly Hallows: Part 1 (2010): Stuart Craig, Stephenie McMillan
Inception (2010): Guy Hendrix Dyas, Larry Dias, Douglas A. Mowat
The King's Speech (2010): Eve Stewart, Judy Farr
True Grit (2010): Jess Gonchor, Nancy Haigh
Best Achievement in Costume Design
WINNER
Alice in Wonderland (2010): Colleen Atwood
Other Nominees:
I Am Love (2009): Antonella Cannarozzi
The King's Speech (2010): Jenny Beavan
The Tempest (2010/II): Sandy Powell
True Grit (2010): Mary Zophres
Best Achievement in Makeup
WINNER
The Wolfman (2010): Rick Baker, Dave Elsey
Other Nominees:
Barney's Version (2010): Adrien Morot
The Way Back (2010): Edouard F. Henriques, Greg Funk, Yolanda Toussieng
Best Achievement in Music Written for Motion Pictures, Original Score
WINNER
The Social Network (2010): Trent Reznor, Atticus Ross
Other Nominees:
127 Hours (2010): A.R. Rahman
How to Train Your Dragon (2010): John Powell
Inception (2010): Hans Zimmer
The King's Speech (2010): Alexandre Desplat
Best Achievement in Music Written for Motion Pictures, Original Song
WINNER
Toy Story 3 (2010): Randy Newman("We Belong Together")
Other Nominees:
127 Hours (2010): A.R. Rahman, , Dido("If I Rise")
Country Strong (2010): Tom Douglas, Hillary Lindsey, Troy Verges("Coming Home")
Tangled (2010/I): Alan Menken, Glenn Slater("I See the Light")
Best Achievement in Sound Mixing
WINNER
Inception (2010): Lora Hirschberg, Gary Rizzo, Ed Novick
Other Nominees:
The King's Speech (2010): Paul Hamblin, Martin Jensen, John Midgley
Salt (2010): Jeffrey J. Haboush, William Sarokin, Scott Millan, Greg P. Russell
The Social Network (2010): Ren Klyce, David Parker, Michael Semanick, Mark Weingarten
True Grit (2010): Skip Lievsay, Craig Berkey, Greg Orloff, Peter F. Kurland
Best Achievement in Sound Editing
WINNER
Inception (2010): Richard King
Other Nominees:
Toy Story 3 (2010): Tom Myers, Michael Silvers
TRON: Legacy (2010): Gwendolyn Yates Whittle, Addison Teague
True Grit (2010): Skip Lievsay, Craig Berkey
Unstoppable (2010): Mark P. Stoeckinger
Best Achievement in Visual Effects
WINNER
Inception (2010): Chris Corbould, Andrew Lockley, Pete Bebb, Paul J. Franklin
Other Nominees:
Alice in Wonderland (2010): Ken Ralston, David Schaub, Carey Villegas, Sean Phillips
Harry Potter and the Deathly Hallows: Part 1 (2010): Tim Burke, John Richardson, Christian Manz, Nicolas Aithadi
Hereafter (2010): Michael Owens, Bryan Grill, Stephan Trojansky, Joe Farrell
Iron Man 2 (2010): Janek Sirrs, Ben Snow, Ged Wright, Daniel Sudick
Best Documentary, Features
WINNER
Inside Job (2010): Charles Ferguson, Audrey Marrs
Other Nominees:
Exit Through the Gift Shop (2010): Banksy, Jaimie D'Cruz
GasLand (2010): Josh Fox, Trish Adlesic
Restrepo (2010): Tim Hetherington, Sebastian Junger
Waste Land (2010): Lucy Walker, Angus Aynsley
Best Documentary, Short Subjects
WINNER
Strangers No More (2010): Karen Goodman, Kirk Simon
Other Nominees:
Killing in the Name (2010): Jed Rothstein
Poster Girl (2010): Sara Nesson, Mitchell Block
Sun Come Up (2010): Jennifer Redfearn, Tim Metzger
The Warriors of Qiugang (2010): Ruby Yang, Thomas Lennon
Best Short Film, Animated
WINNER
The Lost Thing (2010): Shaun Tan, Andrew Ruhemann
Other Nominees:
Day & Night (2010): Teddy Newton
The Gruffalo (2009) (TV): Jakob Schuh, Max Lang
Let's Pollute (2011): Geefwee Boedoe
Madagascar, a Journey Diary (2010): Bastien Dubois
Best Short Film, Live Action
WINNER
God of Love (2010): Luke Matheny
Other Nominees:
The Confession (2010/IV): Tanel Toom
The Crush (2010): Michael Creagh
Na Wewe (2010): Ivan Goldschmidt
Wish 143 (2009): Ian Barnes, Samantha Waite

Ramchand Pakistani===A film that describes the entities of indian cinema,a beautiful work

A 7 year old Pakistani boy and his father belonging to the untouchable Hindu caste accidentally cross the border and spend years in an Indian jail while the mother on the other side doesn't know what has happened to them.
first time when i watched it on tv,i did't like it too much but next time on my pc i loved it,really a heart touchable story.everyone should watch this film to see the limit of our own cinema.

'The King's Speech'-----MY selection as BEST PICTURE for this year OSCAR

"The King's Speech" reminds us that although everything can go wrong with a film before it gets to the casting stage, and often does, a couple of marvelous performances can elevate solid, well-carpentered material and make it something special.

This juicy, witty historical docudrama stars Colin Firth as Bertie, the future King George VI, and Geoffrey Rush as his "speech defects" consultant, an Australian living in London by the name of Lionel Logue. The actors, predictably, are superb in roles shaped by screenwriter David Seidler, and directed by Tom Hooper. Yet they are unpredictably superb as well. Naturally ebullient and sometimes shamelessly scene-stealing, Rush has never given a more contained or moving screen performance. Partly it's a response to the director's visual strategy: Hooper keeps his slightly distorting fish-eye-lens very close to his subjects, high-born as well as common.

To some this lends the picture a gratifying, un-stuffy immediacy; to others, it'll just seem odd. Either way, from that intimate camera-to-actor perspective the tiniest lift of an eyebrow registers very, very clearly.

Firth, by contrast, is by performance temperament a minimalist, and surely he is comfortable slipping into the skin of a fundamentally shy human being. Because his character labors, mightily, with the burden of a severe stammer, his role entails considerable technical challenges. How much to recreate the stutter? How little? In what ways does an actor suggest not only the moment-to-moment agonies of speech, but the gradual, inspiring improvement under Logue's unconventional tutelage?

Seidler, himself a lifelong stutterer, began "The King's Speech" as a play, and many of the most effective scenes retain a simple theatrical dynamic, one character playing a metaphorical tennis match against the other. Firth is exceptional at capturing the future king's imperious yet melancholy air, the underachiever waiting to be prodded into something more. The surprise, both in the writing and the performing, is how deftly we learn of the factors contributing to the stammer. No clunky flashbacks; little sentimentality.

Firth and Rush are surrounded by a first-rate ensemble, chiefly Helena Bonham Carter as a warm-hearted Elizabeth, wife of King George VI; Michael Gambon, fearsome as George V, a man to whom it would never occur that "Get it out, boy!" does not work with stutterers; Guy Pearce, dashing yet slightly pathetic as the king who had the bad luck to fall for a Baltimore divorcee; and Jennifer Ehle, glancingly comic as Logue's wife, who cannot quite fathom why her husband's waiting room is taken up with English royalty.

Some aspects of the film feel routine, or facile, or too heavily underlined. Certain performers ( Timothy Spall as Winston Churchill most glaringly) fly straight past character into caricature. I suppose there's a kind of "Educating Bertie" quality to "The King's Speech." But I refer once again to the actors at the center. Watching Firth, in particular, create a mass of empathetic connections and paradoxes in the service of a fully rounded portrayal…well, this is why "The King's Speech" transcends the ordinary, even the ordinary within its own framework. And it's why Firth will likely add an Academy Award to all the other prizes he's won, and deserved.

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