Directed by Kevin Macdonald. With Russell Crowe, Rachel McAdams, Ben Affleck, Helen Mirren. When a congressional aide is killed, a Washington D.C. journalist starts. Meanwhile, the movie’s themes are surface-deep: Perseverance, forgiveness, hard work and humility lie at its heart and in its message. Zafar treats us to some.

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Scary Mother' review Hollywood Reporter. Back in 1. 92. 9, author Virginia Woolf famously declared “a woman must have money and a room of her own if she is to write fiction,” a proto- feminist article of faith which is starkly illustrated in Georgian director Ana Urushadze’s attention- grabbing debut Scary Mother. A compelling mix of domestic drama and psychological thriller, this Georgia- Estonia co- production is already much feted on the festival circuit, taking home the top prize at the Sarajevo Film Festival last week shortly after winning for best first feature at Locarno. Still in her twenties, Urushadze is the daughter of acclaimed Georgian director Zaza Urushadze, whose 2. Tangerines was shortlisted for an Oscar. Unusually assured for a debut feature, with a strong visual aesthetic and a healthy streak of absurdist humor, Scary Mother is further proof that Georgia’s emergent new wave of young filmmakers still has plenty of juice in the tank. Further festival booking are highly likely, with prizes and positive reviews making a solid case for niche theatrical business.

In a drab post- Soviet concrete apartment block towering over the Georgian capital of Tbilisi, 5. Manana (Nato Murvanidze) is about to explode. After years of sacrificing her literary ambitions to dutiful domestic routine, she is now in full mid- life meltdown mode. Watch If A Man Answers Putlocker.

Her husband Anri (Dimitri Tatishvili) makes vaguely supportive noises about her writing, though he views her artistic aspirations with condescension bordering on contempt. Outside the family apartment, Manana finds more encouragement. Her local neighborhood stationery store owner Nukri (Ramaz Ioseliani) is convinced that her sexually graphic unfinished novel is a taboo- breaking masterpiece, offering his services as unofficial editor and agent. Manana also shares the novel with her father Jarji (Avtandil Makharadze), who is translating it into English without knowing the writer’s true identity.

I have never read such a filthy author,” he rasps approvingly, “the text is ingenious and obscene at the same time.”Manana tries to play the obedient wife and mother at home, but her mask keeps slipping. When she shares an extract of the novel, a scouring tirade full of autobiographical parallels, Anri becomes apoplectic. You write cheap pornography pretending you’re a genius!” he fumes.

Seemingly unable to tell the difference between reportage and fantasy, Anri’s response is to burn the manuscript. This only hardens Manana’s resolve to pursue her literary dreams. Watch Joe`S Apartment Online.

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She flees the apartment for a refuge in Nukri’s store, a womb- like room painted in rich reds that stand in stark contrast to the drab gray cityscape outside. Initially a fairly straight feminist parable about the disparity of traditional gender roles, Scary Mother takes on a more unsettling, surreal, nightmarish feel in its latter half.

A nerve- jangling chase through Tblisi’s subway system, a feverish dream sequence and an awkward erotic interlude in a moonlit courtyard all amplify the sense that Manana may be cracking up under the pressure. She starts to identify with her near- namesake the Manananggal, a mythic female vampire from the Philippines, and claims to find cryptic literary clues hidden in bathroom tiles.

This only terrifies Anri even more. But it is Manana’s emancipation from patriarchy that really scares him, of course, not her blood- sucking fantasies. Scary Mother exhibits few of the typical defects of a debut feature, but it is not flawless. The final act feels a little inconclusive, with historical family secrets thrown into the mix too late and too casually. Manana’s true state of mind is never fully established, and neither is the ratio of pure fabrication to true confession in her novel. A creepy Lynchian oddness hovers teasingly at the edge of the frame, but never fully manifests. That said, Scary Mother is a classy and satisfying package overall.

Making imaginative use of limited resources, Urushadze and cinematographer Mindia Esadze transform the mottled concrete slabs and rusty urban fabric of Tbilisi into artfully framed tableaux, painterly and symmetrical. The cast deliver expressive, haunted faces and intense, prickly performances. Nika Pasuri’s score also deepens the disquieting mood, a sparse but effective tapestry of crackle and fizz, jarring percussion and baleful piano.

Production companies: Studio Artizm, Allfilm, Gemini. Cast: Nata Murvanidze, Dimitri Tatishvili, Ramaz Ioseliani, Avtandil Makharadze, Anastasia Chanturaia. Director- screenwriter: Ana Urushadze. Producer: Lasha Khalvashi.

Cinematographer: Mindia Esadze. Editor: Alexander Kuranov. Production design: Tea Telia. Music: Nika Pasuri. Venue: Sarajevo Film Festival.

Sales company: Alief LLC1.

Salman Khan In Sultan Movie Review. At one point while doing interviews for the Indian release of the Bollywood film “Sultan,” its lead actor, Salman Khan, compared the exhaustion of his physical training to a raped woman. He was skewered by the media and the public for about half a minute. That’s about average for Khan: This is the man who, last May, was finally convicted of his 2. Thanks to a 2. 5- year career featuring some of the biggest hits in Hindi cinema history — including “Maine Pyar Kiya,” and “Hum Aapke Hain Kaun” —  he now pulls in a steady $4. American stars. Khan’s flawed image is mollified somewhat by his lifetime of charitable efforts, which have endowed him with a larger- than- life, Robin Hood- like appeal.

Fans across India refer to him simply as “Bhai” (brother). Needless to say, Khan’s got a firm grip on his fans.

With “Sultan,” the latest offering from producing/distributing juggernaut Yash Raj Films, director Ali Abbas Zafar seems to want to tighten that hold still further. The story of a once- decorated wrestler, whose glory days come to a screeching halt when personal tragedy strips his will to fight, “Sultan” presents Khan (in the title role) in that classic underdog sports movie that should charm just about all of us. But as the film inches along its bloated 1. Zafar, Sultan, and Khan’s grasps each begin to slip.

We first meet Sultan in the ring, an enclosed dirt pit onto which he purposefully strides (amidst raucous cheers in the theater—standard protocol for Khan’s intro scene in any of his films) before breaking both regional records and his opponents’ bones with the brute force of his boulder- like arms.  But Sultan hasn’t always been king of the wrestling. An aimless cable installer in his small Haryana town north of Delhi, he first develops an appetite to fight when he falls hard for the beautiful, English- educated Aarfa (Anushka Sharma). A wrestler herself, with Olympic dreams, Aarfa won’t consider marrying him until he shows some direction in life.

Related. Here’s the Problem With Salman Khan, Bollywood’s Biggest Star. But as he proves his worth, gets the girl, and wins a world title, an unexpected twist of fate knocks out life as he knows it, and he retires from the ring—until years later, when, presented with the chance to fight again, he sees an opportunity to regain what he lost, if only he can get back in shape. Despite some of the usual Bollywood razzle- dazzle, this might be the most authentic performance Khan has done on screen in a decade, as Sultan must undergo a considerable arc from guileless lightweight to national champion to fallen hero — and, finally, a dark horse hoping for redemption.

Khan is no master at emoting, and his not- so- convincing Haryana accent renders several of his lines to unintelligible garble. But in a welcome departure from previous films, he spares us from his usual slapstick antics and stunts that only crescendo in their level of asininity. Instead, he infuses Sultan with an unmistakable sincerity that endears us to his various metamorphoses (which are presented in montages that don’t even try to hide their resemblance to Rocky’s training sequences). The supporting cast further bolsters the story. Sharma is fiery yet restrained in her portrayal of a woman whose life becomes but a shadow of her hard- fought aspirations, while Randeep Hooda (“Monsoon Wedding,” “Highway”) is a brief breath of fresh air as the trainer who whips Sultan into comeback shape.

But the solid performances can’t distract from an overly ambitious and crowded plot. Perhaps not wanting to hew too closely to the typical sports film formula, Zafar goes heavy- handed with his addition of the trademark Hindi film romance tropes.

The song and dance numbers are not just misplaced, they’re superfluous—the one planted at the end of the third act, in which a lovelorn Sultan pauses the buildup to the climax so that he can croon a ballad about Aarfa to a packed nightclub, is plain painful to sit through. Sultan and Aarfa’s prolonged estrangement could have stood alone as its own movie. Meanwhile, wrestling matches are mercilessly drawn out in the first half alone, taking on a repetitive quality so that by the time Sultan is ready for act two, we’re the ones who are out of steam. Meanwhile, the movie’s themes are surface- deep: Perseverance, forgiveness, hard work and humility lie at its heart and in its message. Zafar treats us to some striking rural and urban panoramas while relaying that message, as Sultan gears up along mustard fields of Haryana in the first half, and in front of Delhi’s iconic India Gate in the second. Tongue- in- cheek humor is woven in at appropriate moments, and Khan’s delivery is on point. The movie makes a few earnest attempts at injecting a feminist aspect into the material, with Aarfa delivering an impassioned monologue about equality in gender roles.

But with each plot point competing for screen time in this overlong saga, what could have been a tightly- wound fighting picture somehow takes almost three hours to unfurl, and neither the romance nor the wrestling angle can sustain its appeal to the end. Ultimately, we’re given too much extra padding for “Sultan” to pack a truly tight punch, but it’s safe to say that probably doesn’t matter—it is a Khan film, after all, where the regular rules don’t apply. His fans will make sure it’s a knockout at the box office anyway.