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Watch Deadpool 2 2018 Dubbed In Hindi Full Movie Free Online

Director: David Leitch

Starring: Josh Brolin, Morena Baccarin, Zazie Beetz, Ryan Reynolds

Genre: Action, Adventure, Comedy

Released on: 18 May 2018

Writer: Rhett Reese, Paul Wernick, Ryan Reynolds, Rob Liefeld (based on the Marvel comics by), Fabian Nicieza (based on the Marvel comics by)

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

Duration: 109 min

Synopsis: After surviving a near fatal bovine attack, a disfigured cafeteria chef (Wade Wilson) struggles to fulfill his dream of becoming Mayberry’s hottest bartender while also learning to cope …
In the panoply of superhero movies… Panoply? That sounds wrong; it’s too pretentious. And who says ‘panoply’ anyway? Deadpool would never approve. Let’s try that again. Ahem. There is a plethora of… Ugh. No. Third time’s the charm. Let’s do this. In the pantheon of superhero movies… There we go! Finally. In the pantheon of superhero movies, few are as proudly individualistic as Tim Miller’s Deadpool, and, as Deadpool himself wastes no time in reminding us in the sequel, few have been as successful.

Following this sort of success can never be easy. For instance, while a loyal fanbase has been cultivated and solid goodwill established, a line has also been drawn. Invites have been revoked. Factions have formed. Those who weren’t completely on board with the tone Miller and star Ryan Reynolds established in the first film have absolutely no business gatecrashing this party, and nor have they been made welcome. Deadpool 2 is more violent than the first movie. It’s also way filthier, magnificently tone-deaf and utterly relentless in the grimy path that it has chosen to walk. I liked it better than the first film, but in the interest of absolute honesty, I must confess that I wasn’t quite as taken by the first Deadpool as you lot seemed to have been. So I walked into Deadpool 2 fully prepared to feel left out, like Hawkeye in Avengers: Infinity War. Ignored. But I was in for the most unpleasantly pleasant surprise. And before this review is over, I will have compared Deadpool 2 to The Dark Knight. And also the Scary Movie series.

Immediately - in the very first scene, in fact - it is made quite apparent that Deadpool 2 isn’t quite the sequel you were expecting. And honestly, it wasn’t really difficult - considering the self-referential nature of the beast - to form a theory as to where Deadpool 2 would take the Merc with the Mouth. Of course he was going to make jokes about cashing in on his own popularity and making a rushed sequel. Of course he was going to make fun of the nature of sequels in general, particularly their poor hit rate. And he does. Duh.

But Deadpool 2 is more than just a rushed sequel. It’s a rushed sequel that wants to be good. It’s a movie with surprising emotional depth and, especially in how it handles the story of a certain teenage character, devastating darkness. It catches up with Wade Wilson, Mr Pool to the rest of us, a few years after the events of the first movie. He still looks like a hard boiled Voldemort, and he’s still running that mouth like there’s no Deadpool 3. Taken by his spirit in their adventures together, Colossus and Negasonic Teenage Warhead invite him to tag along on a trial basis for the X-Men, and on that mission he meets young Russell.

Russell is a young mutant who has been locked up in an orphanage his entire life, a torturous place where he has suffered abuse at the hands of a creepy conservative warden who wants to purge mutants like him of their powers.

But Russell is hot property - a time travelling cyborg, as unstoppable as Deadpool’s ability to conjure pop-culture references, is hot on his trail. His name is Cable, and he has certain information about the future that forces him to intervene in this timeline - and especially Russell’s destiny. This sets Wade - who decides that the young mutant has given his life the purpose that it has been lacking - and Cable - who wants nothing but revenge - on a collision course.

Despite this rather grim-sounding premise, a lot of how much you like Deadpool 2 will depend on your tolerance for the ratatat reference-a-minute style that Reynolds is so good at. In that department, it blows Steven Spielberg’s recent film, Ready Player One, clean out of the water. After a point, the dialogue in Deadpool 2 sounds like you’re listening to a particularly excitable foreigner. As you are assaulted by a barrage of words - unrelenting, unstoppable, even in the most serious of scenes - your brain sedates itself, and begins to filter out only the most familiar ones.

And as expected, the audience at my screening reacted loudly every time Deadpool took a swipe at the Marvel Cinematic Universe, or Wolverine, or Reynolds’ Green Lantern. These are easy targets. This is old material. Jokes about Jesus, Yentl, and - God help us all - the Me Too movement, however, were met with stony silence. There has to be a scientific reason behind the satisfaction one derives from understanding a reference designed to be exclusive - perhaps it offers a sense of intelligence where there might not necessarily be any, but the answer’s probably way simpler than that. In that regard, Deadpool 2 - and even the first one - isn’t unlike those terrible Scary Movie movies - at least when it’s in attack mode. But what makes Deadpool significantly better in quality is that the references it pounds you over the head with aren’t empty, but brimming with context - although the depth of this context is rather sketchy.    And like the comedy - which doesn’t pull punches, a commitment to the cause that I admire - another significant improvement comes in the form of the action. But then, what else could you expect from David Leitch, the man who replaced Miller in the director’s chair after Miller had a falling out with Reynolds, and who is described in the credits as ‘one of the guys who killed John Wick’s dog’. Besides the knockout John Wick, Leitch also directed what I consider to be one of the best action sequences of the decade -- in his Cold War spy thriller, Atomic Blonde. Both those movies highlight his knack for stylised action and careful world building, which came quite handy in Deadpool 2, the film which gives us our first cinematic X-Force.

He’s made a movie that feels just as much his own as it does a Deadpool sequel. It occupies that same hyper-real fantasia of the first film, but with enough flair - certainly visually - to feel independent of the original. Like Christopher Nolan’s Dark Knight trilogy, in which each film is stylistically and thematically different from the others - the titles are the most obvious giveaway - Deadpool 2 is just as individualistic as the first movie. It’s a film that requires every moment of your undivided attention, right through to the inspired post-credits scene - and it thoroughly deserves it.
SPOILER ALERT: The following review contains mild spoilers for “Deadpool 2.”

Thanks to some mistranslated Latin, generations of schoolchildren were brought up to believe that ancient Roman households contained a special room called a vomitorium, in which feasting nobles could purge themselves of the night’s dinner and drinks, then go back to the table and help themselves to some more. In fact, no such rooms existed – the word referred to exit passageways in Roman stadia – but the myth persists, and provides a helpful image for understanding the appeal of “Deadpool.”

In an era where massive studio comic-book franchises make up more and more of our media diets, the “Deadpool” property serves a similar emetic function: allowing the detritus accumulated from hours and hours spent bingeing on cinematic world-building, world-saving, world-destroying, chosen ones, and grim-darkness to be rudely, messily expelled in an orgy of bad taste.

Which is not to imply that the experience of watching “Deadpool 2” is in any other way comparable to self-induced vomiting. In almost every respect, this sequel is an improvement on its 2016 predecessor: Sharper, grosser, more narratively coherent and funnier overall, with a few welcome new additions. It’s a film willing to throw everything — jokes, references, heads, blood, guts, and even a little bit of vomit — against the wall, rarely concerned about how much of it sticks. Plenty of it does, plenty doesn’t, and your enjoyment of the film will be entirely dependent on how willing you are to ignore the mess left behind.

“Deadpool” was something of a gamble when Fox greenlit the original (or at least, what passes for a gamble where comic book blockbusters are concerned): A hard-R satire of studio filmmaking’s biggest cash cows, with most of the humor coming at the expense of its own mother franchise, “X-Men.” The box office payoff, however, was staggering, meaning that the key dilemma facing “Deadpool 2” is how to reconcile the financial imperative to stay at the forefront of the comic movie wave with the creative need to remain just outside it, pointing and giggling.
For example, the film’s early viewers were given the now-typical strong-arm warning against spoiling any of its various twists, secrets and cameos, yet the very first frame is itself a spoiler of another recent comic book film. To spoil that spoiler would spoil the fun, although it won’t ruin much to note that this opening scene goes on to depict our disfigured antihero (Ryan Reynolds) being blown into a bloody cloud of limbs and viscera. He’s opted to commit suicide by building-leveling explosion, and the film flashes back six weeks to explain why.

Directed by, as the opening credits note, “One of the Two Guys Who Killed John Wick’s Dog,” the first 10 minutes of “Deadpool 2” feature roughly the same amount of spectacular bloodletting as both that film and its sequel combined, as wiseacre mercenary Deadpool slices a gruesome swath through waves of villainous henchmen. New helmer David Leitch (“Atomic Blonde”) clearly had a ball with his license to conjure maximum mayhem, but he pumps the brakes just when the proceedings are about to get truly unhinged, as Deadpool experiences a tragedy that saps his desire to go on living. Soon we’re back where we started, in his dingy apartment, as he strikes a cheesecake pose on top of several barrels of gasoline and flicks his lit cigarette.

Of course, the gruesome dismemberment of our protagonist is no huge deal: Having begun his first-film origin story as a self-described “wheelbarrow full of Stage 4 cancer,” Deadpool’s superhuman healing abilities mean he’s back in one piece in no time. Caring for him in the meanwhile is the galvanized goody-goody Colossus (Stefan Kapicic), who’s brought him back to Professor Xavier’s School for Gifted Youngsters. Negasonic Teenage Warhead (Brianna Hildebrand) is here, too, this time with a girlfriend (Shioli Kutsuna), and these off-brand stragglers from the proper X-Men universe offer the mercenary a chance at life as a superhero trainee.

Rushing into his first job with the crew he calls “an outdated metaphor for racism in the ’60s,” Deadpool attempts to talk down an angry teenage mutant named Randall (Julian Dennison), who’s making a scene hurling fireballs at the sinister authorities who run his orphanage. His attempts at empathetic heroism go south, and both he and the kid are shipped off to the Ice Box, a high-tech prison for mutants.

Surprisingly limiting itself to a single passing prison-rape joke, the screenplay (written by Reynolds himself, Rhett Reese and Paul Wernick) starts to fill in the outlines of an actual moral arc here, as Randall looks to Deadpool as a surrogate father figure, while Deadpool rebuffs every opportunity to play the protector — at least until the arrival of Cable (Josh Brolin, finally giving this franchise an iron-sphinctered straight man), a bio-enhanced super-soldier from the future, who smashes his way into the Ice Box intent on killing Randall.

Deadpool escapes and decides to pursue redemption by rescuing Randall with his newly assembled X-Force, a posse of simpatico superheroes who are “tough, morally flexible, and young enough to carry this franchise another 10 to 12 years.” These team-building sequences — from a deskbound interview process through to the group’s first mission — are easily the funniest in the film, but as far as franchise extension goes, only Domino is likely to appear in further installments. Charismatically played by Zazie Beetz, the character also represents this film’s most quietly subversive touch: As she puts it, Domino’s lone gift is a knack for being “extremely lucky,” which Deadpool initially doubts qualifies as a superpower. Once in battle, however, her ability to stride an improbably perfect path through mounting chaos makes her virtually indistinguishable from any other cinematic caped crusader.

At its best, the film resembles an ultraviolent Looney Tunes spinoff, with Reynolds once again going full Bugs Bunny behind either a mask or a mountain of makeup — his extremities all akimbo, his rapid-fire comic patter usually landing on just the right side of obnoxiousness. At its worst, there’s something mustily mid-’90s about its self-congratulatory rudeness, its sensibilities lying somewhere between a Farrelly brothers film and a Mountain Dew commercial. Lurking behind its constant self-critiques — pointing out plot holes before you can, acknowledging when its puckish humor edges toward racism but making the joke anyway — is a strange combination of cleverness and cowardice, a self-inoculation against the very responses it goes out of its way to provoke. No matter how far “Deadpool 2” thinks it’s pushing boundaries, it makes sure that even when a gag falls flat, the joke is always on you.



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Watch Serenity 2005 Dubbed In Hindi Full Movie Free Online

Director: Joss Whedon

Starring: Nathan Fillion, Gina Torres, Alan Tudyk, Morena Baccarin

Genre: Action, Adventure, Sci-Fi

Released on: 30 Sep 2005

Writer: Joss Whedon

IMDB Rating: 7.9/10 (261,306 Votes)

Duration: 119 min

Synopsis: In the future, a spaceship called Serenity is harboring a passenger with a deadly secret. Six rebels on the run. An assassin in pursuit. When the renegade crew of Serenity agrees to hide a fugitive on their ship, they find themselves in an awesome action-packed battle between the relentless military might of a totalitarian regime who will destroy anything – or anyone – to get the girl back and the bloodthirsty creatures who roam the uncharted areas of space. But, the greatest danger of all may be on their ship.

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Watch Serenity 2005 Dubbed In Hindi Full Movie Free Online

Director: Joss Whedon

Starring: Nathan Fillion, Gina Torres, Alan Tudyk, Morena Baccarin

Genre: Action, Adventure, Sci-Fi

Released on: 30 Sep 2005

Writer: Joss Whedon

IMDB Rating: 7.9/10 (261,306 Votes)

Duration: 119 min

Synopsis: In the future, a spaceship called Serenity is harboring a passenger with a deadly secret. Six rebels on the run. An assassin in pursuit. When the renegade crew of Serenity agrees to hide a fugitive on their ship, they find themselves in an awesome action-packed battle between the relentless military might of a totalitarian regime who will destroy anything – or anyone – to get the girl back and the bloodthirsty creatures who roam the uncharted areas of space. But, the greatest danger of all may be on their ship.

In the future, a spaceship called Serenity is harboring a passenger with a deadly secret. Six rebels on the run. An assassin in pursuit. When the renegade crew of Serenity agrees to hide a fugitive on their ship, they find themselves in an awesome action-packed battle between the relentless military might of a totalitarian regime who will destroy anything - or anyone - to get the girl back and the bloodthirsty creatures who roam the uncharted areas of space. But, the greatest danger of all may be on their ship.

—Anthony Pereyra {hypersonic91@yahoo.com}

Picking up a short while after Firefly left off, the crew of the space transport Serenity are harboring a highly sought after fugitive - River, a girl with incredible mental ability and amazing fighting skills. The Alliance, the rulers of the galaxy, have sent one of their top operatives after her. He is a one-man army and will stop at nothing to accomplish his mission. Meanwhile for the crew of Serenity it is business as usual, and that business generally involves smuggling, stealing and doing whatever gets them a payout.

—grantss

In the future, mankind consumed planet Earth, called "Earth-that-was", and moved to other planets and satellites. A new order is established with the totalitarian government of the Alliance, which fights and wins a war against their opponents, the independents. When Dr. Simon rescues his teenager telepathic sister, River Tam, from the claws of the Alliance, they are sheltered by a group of mercenaries and smugglers in the spacecraft Serenity, leaded by the former war hero Captain Malcolm 'Mal' Reynolds. The Alliance send an assassin to bring River Tam back, while Mal and his crew find out how powerful she is and the truth about the hidden planet Miranda and the origin of the cannibals Reavers.

—Claudio Carvalho, Rio de Janeiro, Brazil

River Tam and her brother Simon are hiding out from the totalitarian government that experimented with River's brain aboard the space-freighter Serenity. Captained by a down on his luck, no faith soldier, the crew of Serenity must take jobs (legal or not) while avoiding the Alliance, and keeping the Tams safe. But when things get out of hand with the true extent of River's powers, the Alliance sends a new Operative to make sure what River knows doesn't get out. How will the crew of Serenity deal with this new threat? And what exactly does River know that the Operative is willing to kill for?

—Michael Gettings

The crew of the Serenity is getting desperate. They have lain lower and lower to protect their doctor, Simon Tam, and his telepathic traumatized little sister, River, from the alliance, whom he rescued her from a year earlier. This has made getting jobs harder and now they are desperate. When they take River on a robbery during which Reavers (humans who have gone crazy and turned into cannibals) attack, Simon decides that its time to leave the crew of the Serenity for his and River's safety. She then mutters "Miranda" and goes berserk and nearly shoots Capt. Malcolm Reynolds, until her brother says the safety word to put her to sleep. Reynolds decides to take them back on board for safety, only now an alliance operative is on their tracks and making Reynolds determined to find out what "Miranda" is and what the Alliance is hiding.

—Ubernoob

The crew of the ship Serenity try to evade an assassin sent to recapture one of their members who is telepathic.

—Chris White

The pre-title teaser provides backstory for those unfamiliar with the Firefly TV series. The events in the teaser occur prior to the first episode of the TV series: The Universal logo changes to show ships leaving 25th Century Earth as a teacher's voice-over describes the exodus from "Earth that was" and the terraforming and colonization of planets in the new 'verse.'

An introduction to the system government known as the Alliance follows, mentioning the war for system-wide control -- the War of Independence, as it's known to the losing opposition, the Browncoats. This classroom scenario is seen to be the memory or dream of River Tam (Summer Glau), who is in a drugged sleep under confinement at the Alliance Academy facility, being groomed as some form of programmed assassin. River's brother, Dr. Simon Tam (Sean Maher), infiltrates the lab and frees her, but the breakout was a security recording viewed after the event by the Operative (Chiwetel Ejiofor). He has orders to deal with the security lapse and the project director's failure as well as to find River and bring her back.

The credit sequence, set eight months after the events of the teaser, introduces us to the "Firefly" class freighter Serenity, owned and captained by former Independent soldier Malcolm (Mal) Reynolds (Nathan Fillion). Serenity is about to break atmo on the planet Lilac on one of the crews' not-always-legal jobs -- this time a bank heist. The crew members (all familiar to Firefly fans) are the pilot, Hoban "Wash" Washburn (Alan Tudyk); his wife Zoe (Gina Torres), second in command, a veteran and war comrade of Mal's; hired gun Jayne Cobb (Adam Baldwin); and the engineer, Kaywinnet Lee "KayLee" Frye (Jewel Staite).

Two faces familiar from the series are no longer aboard, but we meet them later: the "companion," Inara Serra (Morena Baccarin), and a shepherd (preacher), Derria Book (Ron Glass). (For information on why Inara and Book left the ship, see IMDB discussion boards.)

After River's escape, the Tams found sanctuary with this crew, but Mal plans to make use of River's psychic abilities on this job -- against Simon's wishes. It begins without any major hitch, then River senses and warns them of arriving Reavers. On the border planets, Reavers are feared for their unprovoked, cannibalistic, frenzied attacks; they are only known from urban legend on the central planets.

The crew has an eventful escape, Mal shooting a man who wanted to escape rather than letting him be captured by the Reavers. Back aboard in relative safety, Simon punches Mal for endangering River, then declares their intention to leave the ship. Kaylee, who has a crush on Simon, is distressed.

Fanty and Mingo (the Feldman twins), Mal's sponsors for the job, are waiting for them at the Maidenhead Bar on Beaumonde, and want more of the take. River enters the bar and sees an ad on the viewscreen. This triggers her combat training; she whispers 'Miranda' and begins systematically taking out everyone around her. The twins run. Jayne tries to stop River and fails, while Mal gets to his gun and aims at the exact moment River aims a captured weapon back at him.

Simon enters, sending her to sleep with a code word. Mal brings them back aboard Serenity. Meanwhile the Operative, who ordered the broadcast of the trigger to expose River, is viewing the bar's security feed on his command ship, and a profile of Mal.

Wash suggests a talk with Mr. Universe (David Krumholtz), a kind of media hacker with knowledge of all kinds, who lives with his 'Lovebot' on his own moon. He tells the crew the advert code triggering River's combat training was high level Alliance military. There is something they want and River is part of it. Inara greets the Operative at the temple where she's living; with her intuition and training, she realizes something is wrong.

Meanwhile, the crew arrives at Haven, the mining colony where Shepherd Book now has a congregation and are greeted by him. Book has unusual knowledge of security, criminal and military activity, which puzzles Mal; no explanation is ever given. Book advises Mal on how an attack by an Operative against him could occur. Referring to Book's past, Mal says "You have to tell me about it sometime." Book replies, "No...I don't."

Inara makes contact with Serenity, asking for help. Mal, sensing a trap ("You saw us fight? No? -- Trap!"), decides to go see her. The Operative is at the temple -- of course it was a trap -- and he outlines the trouble River will bring Mal, trying to get him to hand River over. Mal shoots him, then fights him. Inara sets off a flash bomb, and they escape in the nearby shuttle while Serenity deploys decoys to throw the Operative off the trail.

Jayne, after arguing with Mal about keeping River, tries to take her from the locker she's held in. Overpowering him, she escapes. On the bridge, she shows Mal the planet Miranda. Miranda's existence has been suppressed -- all mention of it deleted from charts and records -- and it's in the region known to be Reaver territory.

The Alliance gets to Haven before the crew returns, destroying the settlement. They find Book, dying, beside the settlement's cannon, which he used to shoot down the attacking craft. His last words tell Mal to have strength in his beliefs. They realize the Operative attacked all places Mal could have gone, cutting off escape. Mal finds another way; they disguise Serenity as a Reaver ship and make their way to Miranda, passing through a Reaver flotilla. Their disguise successful, they land on Miranda and find a planet apparently suitable for life with breathable air, power, intact cities and infrastructure. But all the people are dead. The inhabitants appear to have simply lost the will to live and laid down to die: at work, on the road, in their houses.They find a survey ship with a holographic recording made by its last surviving team member, a report never sent. The recording reveals the Alliance put chemicals into the air processors on Miranda to stabilize the population's behavior. It worked too well. Almost everyone stopped doing anything to live and died. A fractional percentage, however, had a drastically different response to the chemical: they became insanely violent and aggressive. The crew realizes this damaged and dangerous remnant of Miranda's inhabitants are the Reavers. The Alliance created them and tried to bury the evidence just before the War. This knowledge affected River, and the release of the tension in her makes her throw up. She says lucidly "I'm all right" after this. River apparently picked up the memory from some of the Alliance chiefs who came to see her training and the memory was also triggered by the code advert. Mal decides to broadcast the hologram from Mr. Universe's moon.

Mal calls Mr. Universe, who says come ahead. But he's already held prisoner, and as soon as Mal breaks contact, he's killed by the Operative. As they pass back through the Reaver flotilla, Mal mans the Haven cannon they took for the ship's disguise. He blasts one of the Reaver ships and Serenity runs for it, Reavers in hot pursuit. The Operative's fleet is concealed in the atmospheric ion cloud of Mr. Universe's moon, and they're surprised when Serenity comes right at the command ship. They're even more surprised by the many Reavers on Serenity's tail. Wash expertly slips Serenity through the ensuing battle, covered by the confusion, until they get tagged by an electronic pulse weapon that takes out Serenity's electrical systems. Wash manages a dead stick crash landing, skidding into an open hangar bay at the end of the runway. Serenity loses one of its attitude engines, turning 180 degrees facing out of the hangar as it comes to rest, leaving them open to attack by the Reaver ship following them in. A spear weapon breaks the window, impaling Wash. He dies not long afterwards. Zoe tries to free him, but Mal sees another spear launched and gets Zoe out of range. They and everone else get inside Mr. Universe's complex. Jayne and Zoe arrange a defensive strategy, while Mal goes to broadcast the message. He finds Mr. Universe dead, but the Lovebot activates at Mal's approach, delivering Mr. Universe's last message on how to find a hidden transmitter the Alliance would have missed when destroying his equipment.

The Operative, having escaped his ship's destruction in a lifepod, arrives shortly afterwards and also triggers the Lovebot message intended for Mal; he follows Mal to the transmitter. On the hangar level, Reavers attack. Zoe gets slashed in the back taking close combat revenge. Kaylee gets hit, and Simon, realizing his medical bag was left behind out where the Reavers are, stands up looking for it and also gets hit. He apologizes to River for leaving. She says "You always take care of me...My turn." She dives through a gap in the blast door they were defending; throws Simon's bag back, grabs a fallen weapon and fights with it before closing the door's manual override and being grabbed by Reavers.

Mal gets to the transmitter, has a massive fight with the Operative and manages to beat him this time, letting him live then setting him to watch the evidence while Mal broadcasts it.

River's battle with the Reavers continues, with her training ensuring she's the last fighter standing. Mal returns to the group as power returns to the complex and they're wondering whether River survived. The blast door reopens, revealing her standing alone with bladed weapons in her hands as the wall is demolished. Alliance troops storm in demanding "Weapons down;" they request a kill order from the Operative. He tells them to lower weapons. "We're finished."

At an outdoor funeral service for the fallen crew members and friends, there are memorials for Wash, Book, and Mr. Universe. Rebuilding work on Serenity comes next; we see Kaylee and Simon kissing, observed from above by River. Before he leaves, the Operative comes to tell Mal he has weakened the Alliance, but they're not gone, and not forgiving. Mal meets Inara aboard as they prepare to leave, asking if she's ready to get back to civilized life. She's not sure. "Good answer," he says. River is in the co-pilot seat as Mal goes to the pilot chair; she seems to know what she's doing and lifts the ship before Mal quite realizes what she's up to. He tells her how important it is to love your ship. A panel tears loose from the hull as Serenity disappears into the black sky. Mal, voice-over, in an urgent tone: "What was that?"

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