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The Muppets: movie review by bally chohan

Tuesday, February 7th, 2012

The Muppets (© Rex)

The Muppets: movie review

Jason Segel takes The Muppets back to their roots in this delightful comedy that’ll have you grinning from ear to ear.
Release date: 10 February 2012
Certificate: U
Starring: Jason Segel, Amy Adams, Kermit the Frog, Miss Piggy
Director: James Bobin
What’s the story? Gary (Segel) heads off to Los Angeles with his girlfriend Mary (Adams) and his puppet brother Walter (voice: Peter Linz). Huge Muppet fans, Gary and Walter discover an oil baron’s evil plot to destroy the Muppet studio. They persuade Kermit to get the gang back together for a fund-raising performance.
What did we think? Adorable. We loved seeing all the old characters from the TV show – from the memorable Miss Piggy (now doing an Anna Wintour in Paris) to hilarious supporting characters we’d forgotten (Sam the Eagle, anyone?).
It’s with some trepidation we approached this film: it could have been a cheap update littered with dodgy celebrity cameos. But as soon as we saw little Walter, literally trembling with excitement while watching old videos of The Muppet Show, we knew we were in for a slice of nostalgia. Much of the show’s irreverent, character-based humour is still intact, both on and off the stage they set for a televised fundraiser.
Tracking down the old crew is a fun business: Fozzie’s in a tribute band called The Moppets, Gonzo’s a toilet tycoon, Animal’s in anger management with Jack Black… There are poignant touches, too, as Kermit wistfully recalls the days of old.
Only a few celebrity cameos feel shoehorned in: mostly those on the Disney payroll like Selina Gomez. The Muppets feels better than that: the real stars of the show are the cute old-fashioned muppets, whose crumpled little faces are still full of expression. Segel handles the music and dance numbers well and while Adams’ character is a bit sidelined, she’s still got the right kind of innocent charm. As ever, it’s not the humans but the muppets who are the naughty ones – and that’s just how we like it.

Release date: 10 February 2012Certificate: UStarring: Jason Segel, Amy Adams, Kermit the Frog, Miss PiggyDirector: James Bobin
What’s the story? Gary (Segel) heads off to Los Angeles with his girlfriend Mary (Adams) and his puppet brother Walter (voice: Peter Linz). Huge Muppet fans, Gary and Walter discover an oil baron’s evil plot to destroy the Muppet studio. They persuade Kermit to get the gang back together for a fund-raising performance.
What did we think? Adorable. We loved seeing all the old characters from the TV show – from the memorable Miss Piggy (now doing an Anna Wintour in Paris) to hilarious supporting characters we’d forgotten (Sam the Eagle, anyone?).

It’s with some trepidation we approached this film: it could have been a cheap update littered with dodgy celebrity cameos. But as soon as we saw little Walter, literally trembling with excitement while watching old videos of The Muppet Show, we knew we were in for a slice of nostalgia. Much of the show’s irreverent, character-based humour is still intact, both on and off the stage they set for a televised fundraiser.Tracking down the old crew is a fun business: Fozzie’s in a tribute band called The Moppets, Gonzo’s a toilet tycoon, Animal’s in anger management with Jack Black… There are poignant touches, too, as Kermit wistfully recalls the days of old.
Only a few celebrity cameos feel shoehorned in: mostly those on the Disney payroll like Selina Gomez. The Muppets feels better than that: the real stars of the show are the cute old-fashioned muppets, whose crumpled little faces are still full of expression. Segel handles the music and dance numbers well and while Adams’ character is a bit sidelined, she’s still got the right kind of innocent charm. As ever, it’s not the humans but the muppets who are the naughty ones – and that’s just how we like it.

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A Dangerous Method movie review by bally chohan

Tuesday, February 7th, 2012
A Dangerous Method (© Rex)

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Keira Knightley comes between Freud and Jung in David Cronenberg’s incisive look at the early days of psychoanalysis.

Release date: 10 February 2012

Certificate: 15
Director: David Cronenberg
Starring: Michael Fassbender, Keira Knightley, Viggo Mortensen
What’s the story? In 1900s Europe, Austrian psychiatrist Sigmund Freud (Mortensen) falls out with his Swiss protégé Carl Jung (Fassbender) over the latter’s affair with an hysterical young woman he is treating (Knightley).
What did we think? Adapted from a play by Christopher Hampton, this wordy period drama demands the viewer’s full attention as it addresses mental illness, the human psyche and the ethics of doctor-patient relationships. Yet it rewards our patience with terrific performances, fine dialogue and the arresting sight of Keira Knightley’s bottom being spanked.
Extreme gore and explicit sexuality have long been the trademarks of Canadian film-maker David Cronenberg. Recently, however, his work has taken on a more cerebral bent, as displayed by this fascinating study of how the founding fathers of psychiatry came to be divided over a beautiful patient.
Even when dealing with Freud and Jung, however, Cronenberg can be relied upon to introduce an element of perverse otherness, represented here by the sado-masochistic urges that have turned Knightley’s tortured Sabina Spielrein into a convulsing wreck.It’s a big ask for Keira to believably convey the wrenching physical symptoms of her character’s mental imbalance. Get past her disconcerting opening scenes, though, and A Dangerous Method becomes a thoroughly engrossing exploration of the contrasting schools of head-shrinking its early champions championed.
What that boils down to is an intriguing battle of words and wits between Mortensen’s urbane, cigar-chomping Freud and Fassbender’s restless, headstrong Jung, intellectual heavy-weights motivated as much by their personal ambitions and desires as complex theories. If all that sounds highbrow, that’s probably because it is. Yet it’s not without humour, largely supplied by Vincent Cassel as a sex-obsessed hedonist who persuades Carl to give free rein to his innermost impulses.

Release date: 10 February 2012Certificate: 15Director: David CronenbergStarring: Michael Fassbender, Keira Knightley, Viggo Mortensen
What’s the story? In 1900s Europe, Austrian psychiatrist Sigmund Freud (Mortensen) falls out with his Swiss protégé Carl Jung (Fassbender) over the latter’s affair with an hysterical young woman he is treating (Knightley).
What did we think? Adapted from a play by Christopher Hampton, this wordy period drama demands the viewer’s full attention as it addresses mental illness, the human psyche and the ethics of doctor-patient relationships. Yet it rewards our patience with terrific performances, fine dialogue and the arresting sight of Keira Knightley’s bottom being spanked.

Extreme gore and explicit sexuality have long been the trademarks of Canadian film-maker David Cronenberg. Recently, however, his work has taken on a more cerebral bent, as displayed by this fascinating study of how the founding fathers of psychiatry came to be divided over a beautiful patient.
Even when dealing with Freud and Jung, however, Cronenberg can be relied upon to introduce an element of perverse otherness, represented here by the sado-masochistic urges that have turned Knightley’s tortured Sabina Spielrein into a convulsing wreck.It’s a big ask for Keira to believably convey the wrenching physical symptoms of her character’s mental imbalance. Get past her disconcerting opening scenes, though, and A Dangerous Method becomes a thoroughly engrossing exploration of the contrasting schools of head-shrinking its early champions championed.
What that boils down to is an intriguing battle of words and wits between Mortensen’s urbane, cigar-chomping Freud and Fassbender’s restless, headstrong Jung, intellectual heavy-weights motivated as much by their personal ambitions and desires as complex theories. If all that sounds highbrow, that’s probably because it is. Yet it’s not without humour, largely supplied by Vincent Cassel as a sex-obsessed hedonist who persuades Carl to give free rein to his innermost impulses.

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Movie review by bally chohan Shame

Tuesday, February 7th, 2012
Shame movie review

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A handsome New York professional going through the motions of casual sex and masturbation to limitless supplies of internet porn, Brandon (Michael Fassbender) finds his carefully constructed routine interrupted by the unexpected arrival of his sister, Sissy (Carey Mulligan), who needs a place to stay.
She takes up residence on his couch as his world slowly begins to crumble around him: he tries dating a friendly coworker (Nicole Beharie) with mixed results; he awaits his fate when his office computer (filled to the brim with porn) is taken away for a routine repair. When it all gets too much for him he goes for long, bleak jogs around New York. When that gets too much for him, he hires a prostitute or has a wank in a bathroom stall.
Sissy has less success keeping her shattering life under wraps: she drinks hard, sleeps with Brandon’s boss (James Badge Dale); she’s flailing. She has “a gig” at a cocktail bar and sings a mournful New York, New York, the bulk of which is shot in an unflinching, extended close-up. It makes Brandon cry; you may react similarly. It might seem too convenient a narrative device to turn that anthem of possibility on its head, but somehow, soundtracking these two disintegrating aliens (they are from Ireland via Jersey), it works.
Eventually there are some hints as to why Sissy and Brandon have ended up the way they have, but they’re really only that, hints, and maybe not even that at all. The film ends as it begins, sorrowful and detached.
Shot in a New York that looks nothing like the tidy, post-Giuliani Big Apple of today, Shame plants Brandon in miserable-looking subway cars, grimy alleys and cold, sterile architecture; a sort of cold, 21st century Saturday Night Fever (another depress-a-rama New York meditation that has somehow been misremembered as a camp disco flick).
The use of Blondie’s ‘Rapture’ and Chic’s glamorously harrowing ‘I Want Your Love’ only adds to the mournful throwback mood. It’s certainly no mistake that it’s the Chic song that is blaring from Brandon’s record player when he discovers Sissy has arrived:
Sometime, don’t you feel like you
Never really had a love that’s real
Well, here I am, and who’s to say
A better love you won’t find today
Just one chance and I will show you love
Like no other, two steps above
On your ladder
I’ll be a peg
I want your loving
Please don’t make me beg
Director Steve McQueen approaches filmmaking like installation art: Shame is less a narrative than a meditation, a series of moments, but it’s no less effective for that. In fact I think it would be decidedly less powerful were we to be given the standard Hollywood addiction/redemption arc.
Fassbender and Mulligan are equally excellent; Sissy is unhinged and passionate while Brandon slowly, sadly collapses in on himself.
Is Brandon a “sex-addict”? It doesn’t really matter (the concept is contentious anyway); rather, Shame is a portrait of a person desperately trying to find – or, perhaps, escape – meaning in the compulsive pursuit of climax. Buzzcocks’ merrily cathartic Orgasm Addict it isn’t.
The level of gag-making that surrounds discussion of the film – “Fassmember!” “Assbender!” – suggests that people are deeply uncomfortable with either the notion of sex addiction, or with the level of honesty that Fassbender (and Mulligan) brings to the film, or with intimacy, or god knows what. Much commentary also centres on how “brave” a performance it is, but isn’t this what actors are supposed to do? Shouldn’t we expect this sort of commitment in every role, whether they involve nudity or not?
It’s all beside the point, really.
In the end, it isn’t the raw sex scenes that make Shame a difficult film to watch, but the raw emotion.

Shame – Movie reviewA handsome New York professional going through the motions of casual sex and masturbation to limitless supplies of internet porn, Brandon (Michael Fassbender) finds his carefully constructed routine interrupted by the unexpected arrival of his sister, Sissy (Carey Mulligan), who needs a place to stay.
She takes up residence on his couch as his world slowly begins to crumble around him: he tries dating a friendly coworker (Nicole Beharie) with mixed results; he awaits his fate when his office computer (filled to the brim with porn) is taken away for a routine repair. When it all gets too much for him he goes for long, bleak jogs around New York. When that gets too much for him, he hires a prostitute or has a wank in a bathroom stall.
Sissy has less success keeping her shattering life under wraps: she drinks hard, sleeps with Brandon’s boss (James Badge Dale); she’s flailing. She has “a gig” at a cocktail bar and sings a mournful New York, New York, the bulk of which is shot in an unflinching, extended close-up. It makes Brandon cry; you may react similarly. It might seem too convenient a narrative device to turn that anthem of possibility on its head, but somehow, soundtracking these two disintegrating aliens (they are from Ireland via Jersey), it works.
Eventually there are some hints as to why Sissy and Brandon have ended up the way they have, but they’re really only that, hints, and maybe not even that at all. The film ends as it begins, sorrowful and detached.
Shot in a New York that looks nothing like the tidy, post-Giuliani Big Apple of today, Shame plants Brandon in miserable-looking subway cars, grimy alleys and cold, sterile architecture; a sort of cold, 21st century Saturday Night Fever (another depress-a-rama New York meditation that has somehow been misremembered as a camp disco flick).
The use of Blondie’s ‘Rapture’ and Chic’s glamorously harrowing ‘I Want Your Love’ only adds to the mournful throwback mood. It’s certainly no mistake that it’s the Chic song that is blaring from Brandon’s record player when he discovers Sissy has arrived:
Sometime, don’t you feel like youNever really had a love that’s realWell, here I am, and who’s to sayA better love you won’t find todayJust one chance and I will show you loveLike no other, two steps aboveOn your ladderI’ll be a pegI want your lovingPlease don’t make me beg
Director Steve McQueen approaches filmmaking like installation art: Shame is less a narrative than a meditation, a series of moments, but it’s no less effective for that. In fact I think it would be decidedly less powerful were we to be given the standard Hollywood addiction/redemption arc.
Fassbender and Mulligan are equally excellent; Sissy is unhinged and passionate while Brandon slowly, sadly collapses in on himself.
Is Brandon a “sex-addict”? It doesn’t really matter (the concept is contentious anyway); rather, Shame is a portrait of a person desperately trying to find – or, perhaps, escape – meaning in the compulsive pursuit of climax. Buzzcocks’ merrily cathartic Orgasm Addict it isn’t.
The level of gag-making that surrounds discussion of the film – “Fassmember!” “Assbender!” – suggests that people are deeply uncomfortable with either the notion of sex addiction, or with the level of honesty that Fassbender (and Mulligan) brings to the film, or with intimacy, or god knows what. Much commentary also centres on how “brave” a performance it is, but isn’t this what actors are supposed to do? Shouldn’t we expect this sort of commitment in every role, whether they involve nudity or not?
It’s all beside the point, really.
In the end, it isn’t the raw sex scenes that make Shame a difficult film to watch, but the raw emotion.

ball chohan he is expert in move review if you want to know more information than contact mr. bally chohan

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Movie Review by bally chohan : The Devil Inside

Wednesday, January 18th, 2012

“The Devil Inside” is an awful movie. Everything about it is cringe-worthy … except for the parts that are supposed to be. Those are just lame. You would think that in a movie designed to scare people they could at least accidently make one scary moment, but they don’t. This film fails on every level.

The film centers on Isabella Rossi. She is the daughter of Maria Rossi, a woman who, 20 years earlier, murdered three members of the Catholic Church while they were performing an exorcism on her.

Isabella decides to go visit her mother at the psychiatric hospital where she is being held. While in Rome, she wants to learn more about exorcism so she sits in on a class being taught by the Catholic Church.

Accompanying Isabella is Michael, a documentary filmmaker capturing all of the events. They eventually meet up with two priests who perform exorcisms and try to figure out whether Isabella’s mother is crazy or still possessed.

This is the type of movie the public should be glad to have movie reviewers for to warn others not to waste their money. When this movie eventually comes out on DVD and is available at a local Redbox, the $1.06 to rent it would still be a monumental waste of money. Therefore, I’ve made a list of things that $1.06 would be better used on.

- Your local McDonald’s Dollar Menu: Even if you hate McDonald’s, you would still feel better about yourself eating a calorie-loaded McChicken than you would after viewing this film.

- Penny beers at Hawk’s Nest: You could drink 106 beers and still have enough brain cells left to realize just how bad this movie is. (Note, I do not endorse drinking over 100 beers in one night. However, spread out over several nights would be acceptable as long as you’re 21 and not driving.) Side note: These safety notes are still more interesting than the movie. It actually makes safety look fun in comparison.

- An on-campus movie: This week, ironically for me, “Tower Heist” is playing. I gave this film two out of five stars in a review a few months back. Yet, it’s still twice as good as “The Devil Inside.”

I could make a whole other list of things you would be better off spending your money on than seeing this film.

The film is shot in a “faux-documentary” style just like the “Paranormal Activity” films. Even though I’m a fan of the style, this movie manages to completely misuse it.

When done correctly, such as in “Paranormal Activity,” it can have a powerful effect and terrify you. When done the way “The Devil Inside” does it, a mixture of boredom and frustration will make you want to leave the theater. I’ve only been to three movies that actually made me want to walk out of the theater, and this is one of them. I stuck it out to the end though and was able to witness one of the worst endings ever. This is no exaggeration. The ending is terrible.I hope by me writing this you’re not intrigued to go see the movie whatsoever. The ending alone is reason enough to stay home. Don’t waste your time, and more importantly, your money.

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Movie Review by bally chohan Vettai

Monday, January 16th, 2012

Bally chohan describe all about this movie :  N Lingusamy has adapted a tried and test formula for his latest movie Vettai. The director, in his usual way, has blended all the elements that make a movie entertaining. In fact, he takes to the era of 80s-90s film, where good having the last laugh against the evil. The filmmaker has also ensured to bring out the best from his actors – Aarya, Madhavan, Sameera Reddy and Amala Paul.

We have seen many movies before, which shows an elder sibling bailing out his younger one from troubles but in Vettai it is vice-versa. The introduction to the characters begin with the early days of Tirumurthi (Madhavan) and Gurumurthi (Aarya), where the former gets beaten-up by his acquaintance while flying a kite. In return, Tirumurthi, who leaves the place crying, makes his junior to seek revenge .

Having given enough hints about the nature of the siblings, the story then moves forward when Tirumurthi, by chance or may be by force, turns a cop. Lacking courage and strength, he manages to face the hurdles with the help of his brother. Being a kind of body double to his elder sibling, Guru successfully makes baddies Annachi (Ashutosh Rana) trembling in fear.

At this juncture, Tirumurthi ties the knot with Vasanthi (Sameera Reddy) and Gurumurthi falls in love with Jayanthi (Amala Paul). However, the villain discovers the truth and the situation changes drastically. The remaining part should be seen on-screen.

The story drives you on a familiar territory and one cannot expect too many surprises in the tale. But Lingusamy, who has mastered in this genre, does not allow the audience to lose their attention rather he makes them to watch the close-to-three hour film without getting bored. The film has each and every ingredient, which audience love to see on-screen. Good story, fights, comedies and songs that make the movie an interesting affair.

Aarya and Madhavan steal the complete show with their excellent performances. Here, we should praise Maddy for putting on some kilos and developing a paunch for his role of a laid-back cop. In fact, he amazingly brings the life to his role and makes the viewers that his role is dozy in front of Aarya’s character, which shines almost in every scene. Sameera Reddy and Amala Paul are good and they have justified their roles. However, Ashutosh Rana, despite getting enough scenes, fails to create fearsome atmosphere in the role of a villain. Rest others are okay. Technically, Nirav Shah’s cinematography is good, Yuvan Shankar Raja’s music is okay and Silva’s action stunts are commendable. Lingusamy has complete control over the subject and from his writing team, especially from the dialogue writer Brinda Sarathy, he has taken out best.

On the flip side, Lingusamy has committed a mistake by changing the attitude of Madhavan’s character in the second half. It looks logic-less and not convincible for many. Putting aside this, there are quite a few minor errors, which go unnoticed.

Verdict: While Nanban has the elements to attract the urbanites and the youths, Vettai is a material,   which will be liked by family and mass audience. It is a paisa-vasool movie, go for it.

Cast: Madhavan, Aarya, Sameera Reddy, Amala Paul, Ashutosh Rana and others.

Director: N Lingusamy

Music: Yuvan Shankar Raja

Cinematography: Nirav Shah

Producers: N Subash Chandra Bose and Ronnie Screwvala.

Released on: January 14

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Reviewed by bally chohan Hands off British film, Mr Cameron

Thursday, January 12th, 2012

Bally chohan  say that in politics, if you’re in a hole, you should stop digging. And yet there’s something about the subject of British cinema that gets the prime minister repeatedly reaching for his spade. Perhaps it’s something to do with Meryl Streep’s Maggie gazing down from every bus, and maybe that film’s sentimentalisation of a Tory leader has emboldened David Cameron to believe this is solid ground for him. He will keep on making these eye-catching and brazen announcements about British film – a topic on which, as Harold Wilson once said to Harold Laski, a period of silence on his part would be most welcome.

On Radio 4’s Today programme, Evan Davis cheekily asked him to comment on a listener’s view that in a Cameron biopic, Malcolm McDowell should play the lead (having famously played the public-school cad Flashman). Cameron opined that If … was a good film of McDowell’s. Huh? Did Mr Cameron fully understand that Lindsay Anderson’s If … was a searing attack on the public school system from a socialist director? Well, he was responding to a question, and he was caught on the hop.

But now he has made a calm and considered visit to the set of the new 007 film at Pinewood Studios and, on the occasion of a report into film-funding from Lord (Chris) Smith, that Blair-era figure who once wrote a solemn study titled Creative Britain, commented publicly that lottery money now needs to be targeted at “mainstream” films. Yes, of course, those commercial blockbusters and box-office sizzlers, as opposed to lefty chin-stroking arty-liberal fare (like, presumably, Lindsay Anderson’s If …) Really, prime minister? What a bold new idea!

The sheer audacity is staggering. He says he wants to “build on the incredible success of recent years”, but one of his administration’s most sensational acts of party political grandstanding and spite was to cancel the UK Film Council – a creation of the Labour years – just when it was delivering not merely critically admired work but precisely those commercial hits of the kind Cameron professes to yearn for.

Could there be any better example of the classy, Brit-heritage smash than The King’s Speech, a film which would not have existed without the UK Film Council’s support? And yet just when this movie’s producers were taking their Oscars away in a wheelbarrow, the Film Council was in the process of being wound up. It was the equivalent of David Cameron rushing on to the field at the final whistle of 2003 Rugby World Cup, calling for silence, and announcing that the coaching system was all wrong, and Clive Woodward and Jonny Wilkinson should be given their P45s right away.

I suspect Cameron now realises the UK Film Council move was one of his government’s silliest blunders. It wasn’t broke – so he broke it. Now he’s returning to the fray, with some choice rhetoric about getting our British movie industry to up its game to rival Hollywood, a rhetoric he has learned from the Blair-Brown administration which, in fact, really did care about boosting cinema.

But it’s not just a case of taking the “commercial”-looking projects and throwing money at them for higher returns. It doesn’t work like that. Producing movies – any kind of movies – is a gamble. As the great screenwriter William Goldman said: nobody knows anything. The UK Film Council got it pretty wrong in the early years of its existence in chasing, and being seen to chase, commercial hits. It resulted in some embarrassing dross, chiefly about mockney gangsters.

Are we destined to go through this again? The UK Film Council was not perfect, and it certainly had its critics, but its successes were coming through the pipeline because it was always keen on self-scrutiny and research, always trying to get the balance between supporting crowd-pleasers and critical darlings. Because these go together, and the distinction is never clear in any case.

The challenge is to make good films, and to make as many as possible and to raise the statistical likelihood of success as high as possible. It may sound naive, but not as naive as this implied image of hearty commercial films starved of cash by lefty arthouse conspirators.

Cameron says he is against big government. Perhaps politicians like him will now resolve to leave the world of film alone for a bit.

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Movie Review by bally chohan : War Horse

Wednesday, January 11th, 2012

Bally chohan : May be it was the epic, old-fashioned storytelling, or the touching bond depicted between man and animal. Whatever the reason, Steven Spielberg’s War Horse worked its way into my heart and I enjoyed it purely as a simple, fulfilling story. Thinking back on it, I smile because this is the type of film many people of various ages and backgrounds can enjoy together. It has a universal appeal because it’s about universal feelings and themes, like caring for a child or pet you’ve nurtured and watched grow; seeing promises all the way through; and basic survival. You can categorize it as a war picture, sure, but it doesn’t necessarily takes sides and label one country good and another evil, nor does it see things from a single point of view. War in this case serves as a mechanism for us to see how any human being – English, French, German, man, woman, adult, child – can be linked to others through his or her humanity. In this case, their humanity stems from the way they care for and react to the title character.

The story has the kind of classic tone that resonated in films of the 1930s, free of cynicism and filled to the brim with underlying hope. In Devon, Ireland, just before World War I, a poor farmer named Ted Narracott (Peter Mullan) hastily (and drunkenly) bids on a horse in a local auction to spite his smug landlord (David Thewlis). But the horse is too skinny and jumpy to pull a plow, which is what Narracott needs it for, and so he ends up with a seemingly useless animal and an even greater line of debt. His wife (Emily Watson) gives him one month to train it; otherwise she vows to return the horse herself and beseech the landlord for forgiveness. But their son, Albert (Jeremy Irvine), who saw the young thoroughbred come into the world, sees a golden opportunity to raise it as his own.

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Rahul Dravid turns 39 reviewed by bally chohan

Wednesday, January 11th, 2012

Bally chohan : Indian batting stalwart Rahul Dravid, who is also known as “The Wall” of the Indian cricket team, turned 39 on Wednesday.

Born in a Maharashtrian Deshastha family in Indore on the 11th of January 1973, Dravid started playing the game of cricket when he was only 12. He represented the state at the under-15, under-17 and under-19 level. Former cricketer Keki Tarapore spotted his cricketing talents when he scored a double-hundred for his school on debut. Rahul went on to make his Ranji Trophy debut in the year 1991 against Maharashtra in Pune.

It took just 5 more years for the talented young man to make his Test debut for the Indian team. Since then the flow of runs continues from his bat. On this day, he is only the second batsman to score over 13,000 runs in Tests and the third cricketer (after Sachin Tendulkar and Sourav Ganguly) to be a part of the elite club of over 10,000 runs in ODIs.

Talking about Tests, Dravid has scored 36 tons, of which 32 times India have not lost the match. He is the only cricketer to have scored a ton in all ten Test playing nations. This proves what this man is capable of, and why is he called “The Wall”.

Moving away a bit from batting, Dravid also holds the record of taking the most number of catches in Test cricket. He is the only cricketer to have crossed the 200-mark in this regard.

Dravid also led the Indian Cricket Team from October 2005 to September 2007. Even though he has a mixed record as a captain, which includes the disappointing ouster of the team from the 2007 World Cup; but at the same time, he led the team to a series win in England after 21 years soon after.

Leaving aside the captaincy part, he has been no short of a great contributor for ODIs as well. He has over 10,000 runs, 12 centuries and 83 fifties. Added to the same, he was involved in two of the largest partnerships in ODIs: a 318-run partnership with Sourav Ganguly, the first pair to combine for a 300-run partnership, and then a 331-run partnership with Tendulkar, which is the present world record.

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Bally Chohan Health Update – Walking on Water

Tuesday, June 15th, 2010

Bally Chohan Dubai (UAE) has come to know that people in the capital city of one of India’s eastern state Assam are using walking on water as an option to lose weight. People in Guwahati, have stopped using gym or other means of exercise and are walking on water to get into shape. Walking on water has become latest craze in Guwahati.

Bally Chohan Dubai (UAE) says that walking on water involves a plastic sphere, which helps any person to run lapse on water. The plastic sphere mostly used for fun is gaining popularity as the best exercise option in Guwahati, India.

Bally Chohan Dubai (UAE) during his India visit last month visited Guwahati. Bally Chohan Dubai (UAE) met some persons who are using walking on water as an option to lose weight. Radhika, one of the water ball user told Bally Chohan that she has stopped going to gym as the gym was proving to be very expensive and time consuming. However she found walking on water as better option. She told Bally Chohan that you tend to easily burn lot of calories, once you learn how to balance the sphere.

Bally Chohan Dubai (UAE) says that the giant ball used for walking on water is capable of handling the weight of person while staying afloat. You only need to keep your act together i.e. keep yourself balanced while you are inside the sphere.

Rajveer Chohan told Bally that although he is yet to learn how to balance himself while on the water and is still crawling on water, however he has already lost one kilogram in just seven days of using water ball.

Bally Chohan Dubai (UAE) has met certain fitness professional and discussed with them the pros and cons of water walking. Most of the fitness professionals Bally met were leery of any benefits from walking on water. They agreed that walking on water will definitely help in getting your heart to pump a bit faster and thus resulting in burning of unwanted calories.

On the other side, most of the gym users differ from this. They think that this won’t suit people of all ages. They think that some people might not be able to balance and it is not practical to suggest water walking to everyone.

Bally Chohan Dubai (UAE) says that people may argue whether walking on water is practical or not, however this is proving to be a lot of fun.

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Bally Chohan movie review – Raajneeti

Sunday, June 6th, 2010

Bally Chohan (UAE) is very much impressed with the new release Raajneeti and would recommend Raajneeti as a must watch movie.

Bally Chohan (UAE) says that Raajneeti a film by Prakash Jha is based on ancient India epic Mahabharata. Mahabharata is without any doubt the most powerful political in India. Mahabharata is story of brothers fighting against each other to gain ultimate power.  Raajneeti, a film directed by Prakash Jha is based on the similar storyline whereby deriving inspiration from the plot and character of Mahabharata.

Bally Chohan (UAE) says that this might take some time for you to initially grasp the storyline in initial stages of the film. However, the plot tightens its grip as the film progresses.  The main star cast of the film includes Ajay Devgan, Ranbir Kapoor, Katrina Kaif, Manoj Bajpayee, Arjun Rampal and Nana Patekar.  

Veerendra Pratap Singh and Prithvi Pratap Singh are two cousins who are heirs of a big political party. Manoj Bajpayee plays the role of Veerendra Pratap Singh whereas Arjun Rampal portray role of Prithvi Pratap Singh. Ajay Devgan plays the role of backward class leader who supports Veerendra Pratap Singh to evict Prithvi Pratap Singh from the party when Prithvi was taking the lead.

Ranbir Kapoor plays role Samar, younger brother to Prithvi who gets sucked into political rivalry between the families.  Brij Gopal (Nana Patekar) who plays role of a senior party member and relative of the family mentors Samar to take charge of the party. Samar along with Brij Gopal helps Prithvi in contesting elections against Veerendra Pratap Singh by arranging funds.

Bally Chohan (UAE) says that you will definitely compare the characters in movie with that of the characters in Mahabharata. Character of Veerendra Pratap Singh (Manoj Bajpayee) is very much derived from Duryodhana whereas Ajay Devgan character resembles that of Karan from Mahabharata. Nana Patekar’s character resembles Krishna from Mahabharata who guide Pandava’s in their fight against Kaurava’s. Samar Pratap (Ranbir Kapoor) depicts Arjun of Mahabharata.

Bally Chohan finds the characterization to be recreated with effectiveness. The best part of the movie is its screenplay. Screenplay of Raajneeti is by the director of movie Prakash Jha and Anjum Rajabali. The screenplay of Raajneeti is gripping and is full of dynamic flow. You can say Raajneeti to be one of the unique bollywood movies where almost every central character in the movie has shades of grey.

Bally Chohan has also found hint of Godfather in Raajneeti other than Mahabharata. Like Godfather Ranbir Kapoor stays back in India to fight for his father’s lost empire. This is where the film moves from political drama to regular revenge drama.

Bally Chohan has always found Prakash Jha at his best when it comes to the political drama. Prakash Jha has extracted the best performance from entire cast of his film.  The film Raajneeti is a must watch film.

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