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Watch Unsane 2018 Dubbed In Hindi Full Movie Free Online

Director: Steven Soderbergh

Starring: Joshua Leonard, Claire Foy, Sarah Stiles, Marc Kudisch

Genre: Horror, Thriller

Released on: 23 Mar 2018

Writer: Jonathan Bernstein, James Greer

IMDB Rating: 6.5/10 (13,473 Votes)

Duration: 98 min

Synopsis: A young woman is involuntarily committed to a mental institution, where she is confronted by her greatest fear–but is it real or a product of her delusion?
The Horrifying True Story Behind Unsane
The premise of Steven Soderbergh's new thriller Unsane is so strange that it almost immediately invites the audience to doubt the protagonist's sanity. Claire Foy plays a woman who visits a psychiatric hospital for an introductory counseling session, in order to deal with residual trauma from being stalked. She is asked to wait and fill out some forms, and once the paperwork is complete she is told to accompany a nurse to a room, where her bag is searched and she is then strip-searched. Confused, she asks if she can now leave the hospital, only to be told that she has been admitted and that the hospital can legally hold her for 24 hours... which then turns into 7 days.

It sounds like a nightmare, but horrifyingly Soderbergh seems to have been inspired by true events. Many details of Unsane bear a close resemblance to accounts in an investigation by Buzzfeed News in 2016, which found that psychiatric facilities appeared to be admitting patients unnecessarily and - in some cases - against their will, in order to collect their health insurance payouts.
The report leads with the account of a woman called Samantha Trimble, who joked about having suicidal thoughts during a counseling session, and was given a few papers to sign by her counselor - which she assumed were just standard paperwork. Then, things took a dark (and, if you've watched Unsane, familiar) turn:
    A technician rifled through Trimble’s purse for sharp objects and then a nurse told her to strip down to her underwear. It was then, she said, that she realized the doors to the psychiatric ward had locked behind her.

    Trimble, who has recently reached a settlement regarding her hospitalization, recalled shaking with fear and “deep, shameful humiliation” as the nurse examined her body, noting the location of any identifying marks. “All you can do,” Trimble said, “is stand there and let it happen.”

    The nurse handed her a small cup of pills, and soon she was asleep.

    When she woke up early the next morning, she recalled thinking, What the f--- just happened?
Soderbergh has not said that he was specifically inspired by this article when making Unsane, but a lot of the details match up. Foy's character, Sawyer, is kept waiting at the hospital for a long time - just like Trimble was - before being taken to the ward and ordered to strip by a nurse who says she needs to make note of identifying marks. She desperately tries to explain to her doctor that she's not supposed to be there, but he dismisses her insistence that she's fine, and tells her that she is a danger to herself and to others.
Later in the movie, Claire learns from a fellow patient, Nate (Jay Pharoah), that she is not the first person to be involuntarily committed. In fact, it's part of a deliberate pattern of forcibly admitting people in order to make claims on their health insurance. Patients with insurance are admitted on the slimmest of pretenses (any mention of depression or suicidal thoughts in a counseling session will do), and are then tricked into signing the admission paperwork and held at the hospital until their insurance provider stops paying out. That, too, was one of the revelations in Buzzfeed's yearlong investigation into United Health Services, America's largest chain of psychiatric hospitals. Unfortunately, Soderbergh's grim tale of institutionalized gaslighting has its roots in reality:    Current and former employees from at least 10 UHS hospitals in nine states said they were under pressure to fill beds by almost any method — which sometimes meant exaggerating people’s symptoms or twisting their words to make them seem suicidal — and to hold them until their insurance payments ran out.

The full investigation is well worth a read, if you can stomach it, and features accounts from both patients and staff at psychiatric hospitals. A lot of the details mentioned in Unsane match up closely with details in the article - for example, one former clinician's recollection that there was a clear demand to fill any empty beds in order to maximize profit ("Your job is to get patients... And you get them however you get them.")Unlike many horror movies, Unsane does not claim to be based on a true story - perhaps in order to avoid a lawsuit - but if you think that its premise is too crazy to be true... well, don't be so sure.  Claire Foy gets a raw deal on mental health care in Steven Soderbergh's low-budget indie shocker about a woman in mortal danger either real or imagined.

If last year's cheerful redneck heist comedy, Logan Lucky, showed director Steven Soderbergh shaking off thoughts of retirement from features with evident enjoyment, it's harder to discern what got him back in the director's chair for Unsane. A genre quickie shot on the quiet using iPhones, this lurching psychothriller stars a persuasively rattled Claire Foy as Sawyer Valentini, whose stalker complex, not her absurd name, lands her in the nuthouse (as it used to be so quaintly called). "Rationally, I know my neuroses are colluding with my imagination," she tells the counselor who admits her. "But I'm not rational." Or is she?

That's the key question early on, visually teased out in the way Soderbergh (under his cinematographer pseudonym Peter Andrews) shoots her from a voyeuristic distance in the opening scenes, at times semi-obscured by foliage or other physical impediments. Are her fears real or delusional? Even Sawyer is unsure. But the hack screenplay by Jonathan Bernstein and James Greer gives the game away far too early, squandering the main thing the movie has going for it.

Press materials are plastered with requests not to reveal "the characters' secrets," and I'll do my best to comply (though consider this a spoiler alert, just in case something slips). Whether Sawyer is in the grip of insanity or a hellish trap of legitimate physical danger, Unsane is a dispiritingly pedestrian woman-in-peril shocker to have come from such a maverick filmmaker. Full of preposterously contrived plotting and authority figures all too conveniently terrible at their jobs or just looking the other way, it grows progressively less involving throughout its crescendo of escalating paranoia, menace and bloody mayhem.

When word of the project surfaced, it seemed fair to hope Soderbergh might put a mischievous contemporary spin on madhouse classics like Shock Corridor or The Snake Pit, or go full-throttle exploitation, demolishing Foy's poised intelligence by dropping her character into a lockbox of over-the-top loonies. But aside from a few shuffling catatonics, that latter constituency here is chiefly represented by Juno Temple's Violet, a tampon-tossing trashy Southerner with a head covered in stringy braids and an instant animosity toward Sawyer. Unsane doesn’t even give you much in the way of lurid fun.

Nor does it deliver psychological complexity, despite Foy's unstinting commitment to a role that often subjects her to unblinking, sweaty closeups of darting-eyed anxiety and corrosive self-doubt. While she plays American with convincing ease, this was a dud choice for Foy's first U.S. film after her breakout attention in The Crown.

Sawyer, it emerges early, has abruptly relocated from Boston to Pennsylvania, leaving behind her doting widowed mother, Angela (Amy Irving, wasted), with little explanation. She's performing well in her finance data analyst position, though the smarmy overtures of her boss clearly make it no dream job. Her soured view of relationships is suggested when she informs a dating-site hookup at the outset that the evening will end with the physical payoff he hopes for, but there can be no sequel.

Unnerved by fleeting glimpses of a bearded man she thinks she recognizes (Joshua Leonard of The Blair Witch Project fame, whose casting in itself is practically a spoiler), Sawyer seeks help from a professional supposedly equipped to deal with the lingering emotional disturbances of stalker victims. But the wrong answer to a line of questioning about suicidal impulses, plus some evasive muttering from the clinician about "standard paperwork," leads to her signing a consent form for voluntary 24-hour commitment at the Highland Creek Behavioral Center.

There might be some sardonic humor in this stunning advertisement for the bottom line-driven profiteering of the American health care industry, if only the movie's ludicrous plot justified any kind of real-world association. Sawyer's alarm ("This is all a terrible mistake!") turns to rage as her volatile outbursts stretch a day into a week. Meanwhile, opioid-addicted fellow patient Nate (SNL's Jay Pharoah) begins whispering about Highland's shady business practices, designed merely to milk patients' insurance until it runs out.

Corrupt conspiracy or cold fact? Foy's bubbling jitters as Sawyer attempts to reason with or charm the center's staff are designed to keep us guessing, as is the impersonal detachment of the supervising medic (Gibson Frazier) and the boilerplate reassurances of the corporate administrator (Aimee Mullins, disconcertingly giving Sawyer some competition in the crazy stakes). And is that night attendant who's in charge of distributing meds the mystery figure from Sawyer's past or is she becoming too deeply unhinged to tell the difference?

That doubt doesn't stick around long, and if you're still unclear by the time Sawyer is subjected to some good old-fashioned padded-cell confinement, you haven't been paying attention. The scripting becomes simply too predictable and the dialogue too routine to keep it interesting. Soderbergh's enervated editing (under his usual alias, Mary Ann Bernard) seldom locates a pulse in the feeble material, let alone one that keeps racing. There are one or two decent scares late in the action, but little that genre fans won't see coming.

It's hard to know what to make of the choice to shoot on iPhones beyond the unencumbered expediency it provided to the off-the-radar, small-crew production. The agility of such small cameras allows for a lot of needling observation of characters at close range, as well as the occasional weird angle to echo the thriller's elements of destabilizing disorientation. But unlike Sean Baker's fabulous Tangerine, the first movie of note shot on iPhone — in which the immersive visuals had both thematically appropriate scrappiness and surprising cinematic sheen — Unsane mostly just looks drab. It's also distinctly unflattering on many of the actors, though perhaps that was the desired effect.

It's arguable that anyone stumbling over this unsubtle, overcooked B-movie in the genre cue of whatever streaming platform it hits soon after the March theatrical release would know it's the work of Steven Soderbergh without reading the credits. Perhaps the chief giveaway is an unbilled cameo in a nothing role by an A-list alumnus of the director's most commercially successful franchise.

I'll admit I was in the minority camp on Logan Lucky, finding that the good-time friskiness of major-name stars playing the hee-haw yokel counterpart to Danny Ocean's slick scammers wore thin even faster than the caper's strenuous plot contortions. But in the wasteland of last summer, most critics were enthusiastic (audiences less so), perhaps in part as a welcome-back to a versatile talent emerging from career hiatus. Soderbergh's esteemed reputation aside, it's difficult to imagine too many pundits lining up to endorse this minor effort with the same generous spirit.




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Watch The Meg 2018 Dubbed In Hindi Full Movie Free Online

Director: Jon Turteltaub

Starring: Ruby Rose, Jason Statham, Rainn Wilson, Jessica McNamee

Genre: Action, Horror, Sci-Fi

Released on: 10 Aug 2018

Writer: Dean Georgaris (screenplay by), Jon Hoeber (screenplay by), Erich Hoeber (screenplay by), Steve Alten (based on the novel “Meg” by)

IMDB Rating: N/A/10 (N/A Votes)

Duration: 113 min

Synopsis: Five years ago, expert sea diver and Naval Captain Jonas Taylor encountered an unknown danger in the unexplored recesses of the Mariana Trench that forced him to abort his mission and abandon half his crew. Though the tragic incident earned him a dishonorable discharge, what ultimately cost him his career, his marriage and any semblance of honor was his unsupported and incredulous claims of what caused it – an attack on his vessel by a mammoth, 70-foot sea creature, believed to be extinct for more than a million years. But when a submersible lies sunk and disabled at the bottom of the ocean – carrying his ex-wife among the team onboard – he is the one who gets the call. Whether a shot at redemption or a suicide mission, Jonas must confront his fears and risk his own life and the lives of everyone trapped below on a single question: Could the Carcharodon Megalodon – the largest marine predator that ever existed – still be alive … and on the hunt?
The Meg Story: A 70-foot shark thought to be long extinct, returns from the depths of the ocean to attack an international deep-sea crew, leaving them to fend for their lives.

The Meg Review: Monster movies are meant to be CGI spectacles that make for mindless fun flicks. 'The Meg' is no different with its straightforward premise. Hollywood's obsession with sharks date all the way back to 1975, so this film is mainly an excuse for Jason Statham to take on a massive shark underwater. A big enough action star like Statham calls for a decent budget to be committed to this endeavour. This is evident as the CGI is a few notches higher to make it appear better than a B-grade flick.

Jason Statham knows exactly what he signed up for, and he has the right amount of fun playing Jonas Taylor, a retired rescue diver who is called back into action. Statham's training as a diver comes handy here, and he commits to the role with a sincerity that does the film a huge favour. Chinese actors Li Bingbing & Shuya Sophia Cai have interesting chemistry with each other and are the only actors besides Statham to watch out for. The rest of the cast is practically redundant, and therefore dispensable. The screenplay doesn't give the audience much to care about – the sentimental scenes don’t resonate too deep, and the comedy doesn’t hit home either. So when the scenes don't involve sharks or the actors mentioned before, it's hard to stay focused on the proceedings.

Perhaps the biggest drawback is the writing which does not narrow down on the film’s tonality. There are points where it takes itself a little too seriously, and others when it aims straight for cheesy popcorn blockbuster status. Little surprise then that director Jon Turteltaub doesn’t know what kind of film he’s making either. The momentum picks up towards the end when the monster mayhem escalates to bigger proportions, but it turns out to be too little, too late. Even if mega-sharks and Statham are enough to lure you to ‘The Meg’, check your expectations before you dive in.


SYNOPSIS

    A deep-sea submersible-part of an international undersea observation program has been attacked by a massive creature, previously thought to be extinct, and now lies disabled at the bottom of the deepest trench in the Pacific...with its crew trapped inside. With time running out, expert deep-sea rescue diver Jonas Taylor is recruited by a visionary Chinese oceanographer, against the wishes of his daughter Suyin, to save the crew and the ocean itself from this unstoppable threat: a pre-historic 75-foot-long shark known as the Megalodon.

    What no one could have imagined is that, years before, Taylor had encountered this same terrifying creature. Now, teamed with Suyin, he must confront his fears and risk his own life to save everyone trapped below...bringing him face to face once more with the greatest and largest predator of all time.

We're going to need a bigger boat for all these shark movies.

On the tail of "The Shallows," ''47 Meters Down," ''Dark Tide" and, of course, the seminal "Sharknado," comes "The Meg," the latest in a growing school of shark movies, all of which, to varying degrees, use our fond memories of "Jaws" as bait to reel us back in the water again. The hook on this one? Bigger shark.

To my disappointment, the title of "The Meg" does not refer to Meg Ryan (though it's nice to imagine an action movie revolving around Jason Statham making precarious escapes from the "When Harry Met Sally..." star). No, the titular Meg of Jon Turteltaub's thriller is the Megalodon, which sounds like either a "Transformers" character or a heavy metal band.

It is, in fact, a prehistoric underwater dinosaur, a kind of supersized shark that went extinct more than 2 million years ago. According to scientists, they could grow up to 60 feet long. According to Hollywood producers, it's more like 75 feet or more. In "The Meg," a Megalodon's dorsal fin sticking out from the water looks from afar like a catamaran.

Naturally, history could not keep such a predator so perfect for today's movies all to itself, especially when one could be strategically found somewhere in the Pacific, conveniently close to the world's second largest movie market, China. Based on Steve Alten's "Meg: A Novel of Deep Terror," ''The Meg" has been in development for some two decades, only to finally emerge as American-Chinese hybrid production.

A state-of-the-art underwater research facility, bankrolled by a cocky young billionaire (Rainn Wilson), uncovers a deeper realm of the Mariana Trench that has for centuries been separated from the rest of the ocean by a cloudy, cold membrane. Soon after a research expedition pushes through the layer in a submersible, they are attacked by an unseen creature, cutting them off from the base above.

For the rescue mission, 11,000 meters down, the team reluctantly turns to the only expert at such a deep dive: Jonas Taylor (Statham). The chief researcher, Dr. Minway Zhang (Winston Chao), elects to quickly bring Taylor out of retirement (he's living above a bar in Thailand) against the warnings of Dr. Heller (Robert Taylor), who believes Taylor reckless for an earlier deep-water nuclear submarine rescue where as many died as lived.

Statham, the sleek, gravelly voiced action star, is lured back underwater because one of the three people trapped — Lori (Jessica McNamee) — happens to be his ex-wife. With remarkably little trouble, he goes from boozing in Thailand to easily piloting a vessel straight down to the seafloor. Statham, sometimes a one-man show, here has a fairly large ensemble around him, one assembled to appeal to moviegoers both East and West. Chinese actress Li Bingbing stars as the divorced single-mother daughter of Dr. Zhang, and Taylor's love interest. Also in the mix as crew members are Ruby Rose ("Orange is the New Black") and Page Kennedy.

But the main draw in "The Meg" is obviously the giant shark which, after years stuck at the bottom of the sea, is awfully hungry. There are the expected close scrapes, surprisingly good production design, PG-13 rated chompings and fluctuating levels of even giant-shark-movie plausibility. What is it about sharks that inspires such absurdity in plots? Much of "The Meg" aims for a familiar popcorn mix of frights and ridiculousness that may well do the trick for cheap August thrills, or those who pine for, say, "Deep Blue Sea."

"The Meg" is best when it acknowledges its derivativeness, just one more silly shark movie in an ocean full of them. Its finest moment is when Statham, having willingly jumped into the water near the Megalodon, channels Dory and murmurs to himself: "Just keep swimming."

"The Meg," a Warner Bros. release, is rated PG-13 by the Motion Picture Association of America for action/peril, bloody images and some language. Running time: 113 minutes. Two stars out of four

 critic's rating:  3.0/5
Morris (Rainn Wilson), a billionaire, puts together a team of scientists and deep sea explorers to study the oceans. They come across the theory that there is another world waiting to be explored beneath the sea bed in Chinese waters. They penetrate the cloud layer (yes the science has gone for a toss here) formed some thousands of meter down and indeed find a new pocket of unexplored territory teeming with never seen before sea flora and fauna. They are attacked by a giant squid and then by a Meg. The Meg is a megalodon, a supposedly extinct 90-foot shark that could bite a whale in half and still has room for more in its stomach.

Our motley crew of characters include Zhang (Winston Chao) and his daughter, Sunyi (Li Bingbing), a single mother with a cute daughter Meiying (Shuya Sophia Cai). Lori (Jessica McNamee),  who happens to be ex-wife of Jason Statham’s character, Toshi (Masi Oka), and a character called “The Wall” (Ólafur Darri Ólafsson) go beneath the ‘clouds’ in a special Mars explorer like vehicle and get stuck there. Mac (Cliff Curtis), calls upon his former buddy, celebrated deep sea rescuer Jonas Taylor (Jason Statham) to rescue them. He’s a borderline alcoholic but agrees for the last mission because, well, his ex-wife’s life is at stake. He has bad blood with the onboard doctor, Heller (Robert Taylor), which gets resolved during the course of the film. Jaxx (Ruby Rose) and DJ (Page Kennedy), are also included in this varied cast.

The film carries forward the spirit Jaws (1975) but thankfully deviates from the tropes put in place by the cult classic and follows its own course. Jon Turteltaub has kept a relentless pace throughout. The shark here is seen as a supernatural entity and not really a deranged killer as seen in Jaws and its derivatives. And there is a nice twist in the middle to keep you hooked till the end. The CGI creature keeps changing its size however. And somehow, you stop being afraid of it after a while. Jason Statham fighting a prehistoric giant shark is a drool-worthy idea. You want him to do some absurd things like kick the shark on its nose or take a knife to it and kill it after a vicious bout of hand-to-hand combat. You keep waiting for such a moment to happen and it does come towards the end, where defying the laws of physics he goes against the monster with a harpoon. The only question you want to ask veteran director Jon Turteltaub, a man famous for such films as Cool Runnings and National Treasure, is that why did he make us wait so long for this moment. And why didn't he put more moments like this in the film.

Though there is a spark there between Sunyi and Jonas, the director has chosen not to ignite it further and it remains untended. It must be mentioned that the Chinese star Bingbing  isn’t just relegated to being eye candy and is seen seen taking risks and has as much screen time as Statham. A sign perhaps, of the growing clout of the Chinese market in Hollywood films. There are a couple of jokes about foreigners not speaking Chinese correctly, which further cements that idea.

The film, shot mostly at the sea, offers some stunning underwater scenes and some decent CGI. It hovers between being being a gloried B movie and a certified A movie. Jason Statham who is mostly seen in rescue vehicles doesn’t get enough action space, though a couple of his scenes with the shark, especially when he’s towed through the water away are totally worth his presence. If the film does well, be sure that other monstrous creatures are sure to surface from their secret hideout. Though the film doesn’t show an end which can take the sequel forward...



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Watch Cubbyhouse 2001 Dubbed In Hindi Full Movie Free Online

Director: Murray Fahey

Starring: Joshua Leonard, Belinda McClory, Lauren Hewett, Jerome Ehlers

Genre: Comedy, Horror, Thriller

Released on: 22 Feb 2002

Writer: Ian Coughlan, Murray Fahey

IMDB Rating: 3.1/10 (690 Votes)

Duration: 89 min

Synopsis: Following a messy divorce, Lynn Graham moves back home to Australia with her three American-born children in tow. Buying an old house on the same street as her sister seems like a good idea, but its low price reflects a unpleasant history of murder and satanic ritual. Before long, her two youngest kids have fallen under the spell of an evil force emanating from a sinister cubbyhouse in the back garden, and bloody past events look set to repeat themselves.

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Watch A Quiet Place 2018 Dubbed In Hindi Full Movie Free Online

Director: John Krasinski

Starring: Emily Blunt, John Krasinski, Millicent Simmonds, Noah Jupe

Genre: Drama, Horror, Sci-Fi

Released on: 06 Apr 2018

Writer: Bryan Woods (screenplay by), Scott Beck (screenplay by), John Krasinski (screenplay by), Bryan Woods (story by), Scott Beck (story by)

IMDB Rating: 7.9/10 (127,502 Votes)

Duration: 90 min

Synopsis: In a post-apocalyptic world, a family is forced to live in silence while hiding from monsters with ultra-sensitive hearing.
Spend enough time inside the ‘Quietest Room in the World’ and, if firsthand accounts are to be believed, you will slowly begin to lose your mind. Within the first few minutes, you will learn that even the slightest movement of your body – a twitch of the shoulder, a gulp, a shrug – makes sounds. In about 15 minutes, you will begin to lose your sense of space – you will be enveloped in darkness, sonically and mentally. Your screams will be loud, but they will die almost instantly – there are no echoes in the Quietest Room in the World. No one on the outside will be able to hear you. After half an hour, you will faint.

It’s unlikely that John Krasinski’s new film replicates these sensations but A Quiet Place has that rare ability to evoke not only psychological reactions, but also physical ones - you might not faint, but you will gasp, you will perspire, and you will certainly be able to hear your heartbeat . And it’s Krasinski’s first time directing horror, which, probably after comedy, is the most difficult genre to get right, and the easiest to mess up.

What this film has – and so many other horror movies don’t – is the patience that is so necessary for horror to work. So often with these films we see an almost scientific approach to scares – it is almost as if a committee has sat down and decided that to be effective, the film must hurl unseen objects towards the audience, and punctuate moments of silence with loud bangs. This never works. And Krasinski’s approach as director is to systematically dismantle these sad trends that have overtaken mainstream horror films these days. A Quiet Place is an effortless distillation of the three elements that define filmmaking: sound, light and actors. With barely 10 lines between the four of them, the central actors convey such raw emotions with just their faces that it makes you wonder why performances such as this are never up for Oscars. This happened last year with Split, in which James McAvoy knocked it out of the park with the performance of a lifetime. In A Quiet Place, there are scenes in which you can feel, along with Emily Blunt and John Krasinski, the fear of emerging death, the pain of actual death, and the freedom of potential death.

And there isn’t really time for anything else in their world, a world whose stakes the film establishes in its very first scene. There is a larger story here, of course, but A Quiet Place is utterly unconcerned about the machinations of governments and the epic final stands of the military. All it cares about is one family, united by loss, and grappling for survival on an almost daily basis.

They live on a large farmhouse surrounded by a dense forest. In the forest lurk mysterious creatures that are attracted to sounds. Hearing these sounds sends the creatures into a murderous rampage, which was perhaps the reason why most of humanity seems to have died - ‘they hear you, they hunt you,’ is the film’s catchy tagline. The Abbotts are still alive, even after 479 days, but only because they’ve taken all the precautions. Their home is surrounded by lights, their bunkers are stocked, they speak only in sign language, and they have enough evasive manoeuvres planned in case of an emergency. And it takes A Quiet Place less than five minutes to establish its imaginative setting and to set up its ingenious rules – all of which it does wordlessly. For nearly all of its 90 minute run time, A Quiet Place is virtually silent. In an age when loud explosions are seen as currency, this is a film that savours the whistling of the wind, the blowing of a breeze and the rustling of autumn leaves.

Every time one of Evelynn and Lee Abbott’s children steps on a broken twig, or topples over a lantern, you will experience what true horror really feels like.

And because of this limited scope, we, as an audience, are freed of all the excess that is usually slathered on these movies – it doesn’t matter what brought these creatures to our planet, it doesn’t matter whether or not there are pockets of survivors hidden away, and it doesn’t matter if the Abbotts will survive till rescue comes.

All that matters is the next moment. And to sustain this level of suspense for close to 90 minutes is a task even some of the so-called veteran horror filmmakers routinely fail at. In A Quiet Place, Krasinski brings an almost M Night Shyamalanesque tone – serene, unnerving, and when you least expect it, stunningly emotional. Beneath it’s genre thrills, it is a story about parenthood.Krasinski, a parent himself with real life partner Blunt, mounts several immaculately conceived set pieces that are some of the finest you’ll ever see in a film like this, and it all comes to a head in the film’s centrepiece – a scene involving childbirth, featuring an Emily Blunt performance that works on more levels than you or I can comprehend.

If you’re lucky enough to watch it in a theatre equipped with a state-of-the-art Atmos sound system, it will be a revelatory movie-going experience – sort of like the first time you watched an IMAX 3D movie. It’s the sort of film that deserves to be experienced with a large crowd, where the slightest crunch of popcorn can earn you a solid stink-eye, with friends -- you dragged along by force -- sitting in rapt fear.




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 Watch Bhaagamathie 2018 Full Hindi Movie Free Online

Director: Ashok G., Ashok G.

Starring: Anushka Shetty, Jayaram, Unni Mukundan, Asha Sharath

Genre: Action, Horror, Thriller

Released on: 26 Jan 2018

Writer: Ashok G.

IMDB Rating: 7.1/10 (1,016 Votes)

Duration: 138 min

Bhaagamathie Synopsis: To dig up some dirt on a minister who is Mr Clean, a CBI officer goes after his imprisoned personal secretary. They transfer her to a dilapidated palace, which is believed to be haunted by the ghost of a cruel queen, and things take an eerie turn.

Bhaagamathie Review: Bhaagamathie ticks all the boxes that have become mandatory for a horror thriller these days. Some of the elements — a haunted palace, a legend involving royalty and a tragedy, a mystery surrounding the unnatural occurrences (is it really a ghost or is it psychological?) — give it the vibe of Chandramukhi. Even the camera moves, where the camera peeps from behind a character or moves towards them at a pace that conveys the presence of something supernatural, are reminiscent of the tricks that were employed in that film. However, if the film feels derivative and somewhat predictable, it is also intentional — as we learn towards the end.

To take us there, director Ashok gives us a story that involves a bit of political intrigue and this is what makes Bhaagamathie a little different from other horror-thrillers. He gives us the story of Sanchala (Anushka), an IAS officer, who is in prison for murdering her fiancé. The higher powers in the government decide to use her to dig up some dirt on Eshwar Prasad (Jayaram), a minister with a clean image who has been embarrassing them among the public. Enter CBI officer Vaishnavi Reddy (Asha Sharath), who gets Sanchala transferred from prison to a rundown palace believed to be haunted by the ghost of Bagamathi, a cruel queen. Soon, weird events begin to take place. Is Sanchala really possessed by the spirit of Bagamathi? Is she schizophrenic? Or, is she faking it all?

Bhaagamathie depends on the larger-than-life onscreen persona of Anushka, the one we have seen in films like Arundhati and Bãhubali, and the actress delivers. While she gives a measured performance as the quietly assured Sanchala, who is caught in a political game, she dials it up to eleven to make us buy the ferociousness of Bagamathi, which captures the over-the-top tone of the film. However, some of the impact of her transformation gets lost because we see the actress saying her lines in Telugu (the film has been made as a Tamil-Telugu bilingual) in some shots.

Jayaram and Asha Sharath capture the different shades of their roles pretty well, though for actors of their calibre, this is not a stretch by any means. Technically, the film feels competent, and music director Thaman, especially, lifts the scenes with his suitably bombastic score.

There is a distinct Telugu masala flavour to the film, but that doesn’t put us off. And even if the machinations of the script, including the climactic twist(s), feel familiar, Ashok goes about these with an attitude that is gleefully over the top and this keeps the film engaging.



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