the y movie review in hindi

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'The Y' is not cheapjack or gimmicky and would have benefitted from a tighter screenplay and a better storyline because the spooky ambience and the fear factor are there.

The Y Movie Review: Loose screenplay and story pull the potential down

• Times of India

The Y - Official Trailer

Y | Song - Bepanaah

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dcl productions 176 days ago

Loved it <br/>One of the best psychological Horror film

dcl productions 425 days ago

Psychological cinema 447 days ago.

too good to watch..

Btownhighvoltage films 447 days ago

B town high voltage movie

Officeal Trailerz 447 days ago

perfect made

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• This film marks the first collaboration of uncle-nephew duo Anil Kapoor and Arjun Kapoor. Arjun is the son of Anil’s brother Boney Kapoor. Share
• This film marks the first collaboration of uncle-nephew duo Anil Kapoor and Arjun Kapoor. Arjun is the son of Anil’s brother Boney Kapoor.
• This is the second time Arjun Kapoor is playing a double role, the first being Aurangzeb (2013).
• The song ‘Yamma yamma’ from ‘Shaan’ is sampled in the song ‘Partywali Night' for the film.

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Chandruyoganand

Brilliant movie in terms of Content, Screenplay, Cinematography , BGM...Nothing else can beat this…

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‘LEK ASAVI TAR ASHI’ (Marathi)

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Rocket Films’ The Y ( UA ) is a horror thriller. Strange things start happening when Yuvan (Yuvan Hariharan) and his wife, Deeksha (Leonilla D’Souza), move into the new bungalow bequeathed to them. In spite of Yuvan’s friend, Abhi (Abhinava Kiran), warning him of a ghost’s presence in the bungalow, Yuvan is unwilling to believe him or even take him seriously. However, when a psychiatrist (Kamal Ghimiray) endorses the theory about a spirit, Yuvan is forced to take note. What happens thereafter?

Girideva Raaj has written a story which is like any other horror story. His screenplay has some moments which afford thrill but they are few and far between. The revelation of the suspense does not really do justice to the build-up. Girideva Raaj’s dialogues are routine.

Yuvan Hariharan does a fair job as Yuvan. Leonilla D’Souza is okay as Deeksha. Kamal Ghimiray lends ordinary support in the role of the psychiatrist. Abhinava Kiran is earnest as Abhi. Prithal Pawar (as Sonu), Apsara (as Vidhya), Bhuvan Brahmadev (as young Yuvan), Bhairavi (as young Deeksha), Vijay Kondaiah (as Deeksha’s uncle), Ram Rao (as Ramu Kaka), N.L. Narendra Babu (as the orphanage caretaker), Sinchana (as the courier staffer), and Sarojamma (as Susheela) lend decent support.

Girideva Raaj’s direction is so-so. Maru Brothers’ music and Shambhu Kumar’s lyrics are functional. Christopher Jayson’s background music is quite effective. Camerawork (by Karthik Mallur) is nice. Vinod Basavaraj’s editing ought to have been sharper.

On the whole, The Y is too ordinary to make much of an impact at the box-office. Its poor promotion is another drawback as awareness about the film is almost nil. A plus point, however, is that the film has been made on a shoestring budget.

Released on 6-1-’23 at Metro Inox (daily 1 show) and other cinemas of Bombay thru Cinepolis and White Lion Entertainment. Publicity & opening: poor. …….Also released all over.

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• ENGLISH HINDI MALAYALAM TAMIL TELUGU KANNADA BENGALI  

The Y Hindi Movie

The Y is a 2023 Indian movie directed by Girideva Raaj starring Yuvan Hariharan, Abhinava Kiran, Kamal Kumar Ghimiray and Prithal Uday Pawar. The feature film is produced by Madhu GM and the music composed by Christopher Jayson.

Director: Girideva Raaj Producer: Madhu GM Music Director: Christopher Jayson Cinematographer: Karthik Mallur Editor: Vinod Basavaraj

The Y Movie Review

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M ORE C AST & C REW

• Music Director:
• Christopher Jayson
• Vinod Basavaraj
• Girideva Raaj
• Director of Photography:
• Karthik Mallur
• Executive Producer:
• Yuvan Hariharan
• Line Producer:
• Shwetha S R
• Associate Director:
• Chaarmoon Yoganand
• Satish Kumar
• Screenplay Writer:
• Supporting Actor:
• Abhinava Kiran
• Harish Gowda
• Kamal Kumar Ghimiray
• Leonilla Shwetha Dsouza
• Prithal Uday Pawar
• Hair and Makeup Artist:
• Chinya Suresh

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Not Another Church Movie

It follows Taylor Pherry, who is given a mission from God Himself: to tell his family's stories and inspire his community. What he doesn't know is that the Devil has plans of his own. It follows Taylor Pherry, who is given a mission from God Himself: to tell his family's stories and inspire his community. What he doesn't know is that the Devil has plans of his own. It follows Taylor Pherry, who is given a mission from God Himself: to tell his family's stories and inspire his community. What he doesn't know is that the Devil has plans of his own.

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‘Civil War’ Review: We Have Met the Enemy and It Is Us. Again.

In Alex Garland’s tough new movie, a group of journalists led by Kirsten Dunst, as a photographer, travels a United States at war with itself.

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‘Civil War’ | Anatomy of a Scene

The writer and director alex garland narrates a sequence from his film..

“My name is Alex Garland and I’m the writer director of ‘Civil War’. So this particular clip is roughly around the halfway point of the movie and it’s these four journalists and they’re trying to get, in a very circuitous route, from New York to DC, and encountering various obstacles on the way. And this is one of those obstacles. What they find themselves stuck in is a battle between two snipers. And they are close to one of the snipers and the other sniper is somewhere unseen, but presumably in a large house that sits over a field and a hill. It’s a surrealist exchange and it’s surrounded by some very surrealist imagery, which is they’re, in broad daylight in broad sunshine, there’s no indication that we’re anywhere near winter in the filming. In fact, you can kind of tell it’s summer. But they’re surrounded by Christmas decorations. And in some ways, the Christmas decorations speak of a country, which is in disrepair, however silly it sounds. If you haven’t put away your Christmas decorations, clearly something isn’t going right.” “What’s going on?” “Someone in that house, they’re stuck. We’re stuck.” “And there’s a bit of imagery. It felt like it hit the right note. But the interesting thing about that imagery was that it was not production designed. We didn’t create it. We actually literally found it. We were driving along and we saw all of these Christmas decorations, basically exactly as they are in the film. They were about 100 yards away, just piled up by the side of the road. And it turned out, it was a guy who’d put on a winter wonderland festival. People had not dug his winter wonderland festival, and he’d gone bankrupt. And he had decided just to leave everything just strewn around on a farmer’s field, who was then absolutely furious. So in a way, there’s a loose parallel, which is the same implication that exists within the film exists within real life.” “You don’t understand a word I say. Yo. What’s over there in that house?” “Someone shooting.” “It’s to do with the fact that when things get extreme, the reasons why things got extreme no longer become relevant and the knife edge of the problem is all that really remains relevant. So it doesn’t actually matter, as it were, in this context, what side they’re fighting for or what the other person’s fighting for. It’s just reduced to a survival.”

By Manohla Dargis

A blunt, gut-twisting work of speculative fiction, “Civil War” opens with the United States at war with itself — literally, not just rhetorically. In Washington, D.C., the president is holed up in the White House; in a spookily depopulated New York, desperate people wait for water rations. It’s the near-future, and rooftop snipers, suicide bombers and wild-eyed randos are in the fight while an opposition faction with a two-star flag called the Western Forces, comprising Texas and California — as I said, this is speculative fiction — is leading the charge against what remains of the federal government. If you’re feeling triggered, you aren’t alone.

It’s mourning again in America, and it’s mesmerizingly, horribly gripping. Filled with bullets, consuming fires and terrific actors like Kirsten Dunst running for cover, the movie is a what-if nightmare stoked by memories of Jan. 6. As in what if the visions of some rioters had been realized, what if the nation was again broken by Civil War, what if the democratic experiment called America had come undone? If that sounds harrowing, you’re right. It’s one thing when a movie taps into childish fears with monsters under the bed; you’re eager to see what happens because you know how it will end (until the sequel). Adult fears are another matter.

In “Civil War,” the British filmmaker Alex Garland explores the unbearable if not the unthinkable, something he likes to do. A pop cultural savant, he made a splashy zeitgeist-ready debut with his 1996 best seller “The Beach,” a novel about a paradise that proves deadly, an evergreen metaphor for life and the basis for a silly film . That things in the world are not what they seem, and are often far worse, is a theme that Garland has continued pursuing in other dark fantasies, first as a screenwriter (“ 28 Days Later ”), and then as a writer-director (“ Ex Machina ”). His résumé is populated with zombies, clones and aliens, though reliably it is his outwardly ordinary characters you need to keep a closer watch on.

By the time “Civil War” opens, the fight has been raging for an undisclosed period yet long enough to have hollowed out cities and people’s faces alike. It’s unclear as to why the war started or who fired the first shot. Garland does scatter some hints; in one ugly scene, a militia type played by a jolting, scarily effective Jesse Plemons asks captives “what kind of American” they are. Yet whatever divisions preceded the conflict are left to your imagination, at least partly because Garland assumes you’ve been paying attention to recent events. Instead, he presents an outwardly and largely post-ideological landscape in which debates over policies, politics and American exceptionalism have been rendered moot by war.

‘Civil War’ Is Designed to Disturb You

One thing that remains familiar amid these ruins is the movie’s old-fashioned faith in journalism. Dunst, who’s sensational, plays Lee, a war photographer who works for Reuters alongside her friend, a reporter, Joel (the charismatic Wagner Moura). They’re in New York when you meet them, milling through a crowd anxiously waiting for water rations next to a protected tanker. It’s a fraught scene; the restless crowd is edging into mob panic, and Lee, camera in hand, is on high alert. As Garland’s own camera and Joel skitter about, Lee carves a path through the chaos, as if she knows exactly where she needs to be — and then a bomb goes off. By the time it does, an aspiring photojournalist, Jessie (Cailee Spaeny), is also in the mix.

The streamlined, insistently intimate story takes shape once Lee, Joel, Jessie and a veteran reporter, Sammy (Stephen McKinley Henderson), pile into a van and head to Washington. Joel and Lee are hoping to interview the president (Nick Offerman), and Sammy and Jessie are riding along largely so that Garland can make the trip more interesting. Sammy serves as a stabilizing force (Henderson fills the van with humanizing warmth), while Jessie plays the eager upstart Lee takes under her resentful wing. It’s a tidily balanced sampling that the actors, with Garland’s banter and via some cozy downtime, turn into flesh-and-blood personalities, people whose vulnerability feeds the escalating tension with each mile.

As the miles and hours pass, Garland adds diversions and hurdles, including a pair of playful colleagues, Tony and Bohai (Nelson Lee and Evan Lai), and some spooky dudes guarding a gas station. Garland shrewdly exploits the tense emptiness of the land, turning strangers into potential threats and pretty country roads into ominously ambiguous byways. Smartly, he also recurrently focuses on Lee’s face, a heartbreakingly hard mask that Dunst lets slip brilliantly. As the journey continues, Garland further sketches in the bigger picture — the dollar is near-worthless, the F.B.I. is gone — but for the most part, he focuses on his travelers and the engulfing violence, the smoke and the tracer fire that they often don’t notice until they do.

Despite some much-needed lulls (for you, for the narrative rhythm), “Civil War” is unremittingly brutal or at least it feels that way. Many contemporary thrillers are far more overtly gruesome than this one, partly because violence is one way unimaginative directors can put a distinctive spin on otherwise interchangeable material: Cue the artful fountains of arterial spray. Part of what makes the carnage here feel incessant and palpably realistic is that Garland, whose visual approach is generally unfussy, doesn’t embellish the violence, turning it into an ornament of his virtuosity. Instead, the violence is direct, at times shockingly casual and unsettling, so much so that its unpleasantness almost comes as a surprise.

If the violence feels more intense than in a typical genre shoot ’em up, it’s also because, I think, with “Civil War,” Garland has made the movie that’s long been workshopped in American political discourse and in mass culture, and which entered wider circulation on Jan. 6. The raw power of Garland’s vision unquestionably owes much to the vivid scenes that beamed across the world that day when rioters, some wearing T-shirts emblazoned with “ MAGA civil war ,” swarmed the Capitol. Even so, watching this movie, I also flashed on other times in which Americans have relitigated the Civil War directly and not, on the screen and in the streets.

Movies have played a role in that relitigation for more than a century, at times grotesquely. Two of the most famous films in history — D.W. Griffith’s 1915 racist epic “The Birth of a Nation” (which became a Ku Klux Klan recruitment tool) and the romantic 1939 melodrama “Gone With the Wind” — are monuments to white supremacy and the myth of the Southern Lost Cause. Both were critical and popular hits. In the decades since, filmmakers have returned to the Civil War era to tell other stories in films like “Glory,” “Lincoln” and “Django Unchained” that in addressing the American past inevitably engage with its present.

There are no lofty or reassuring speeches in “Civil War,” and the movie doesn’t speak to the better angels of our nature the way so many films try to. Hollywood’s longstanding, deeply American imperative for happy endings maintains an iron grip on movies, even in ostensibly independent productions. There’s no such possibility for that in “Civil War.” The very premise of Garland’s movie means that — no matter what happens when or if Lee and the rest reach Washington — a happy ending is impossible, which makes this very tough going. Rarely have I seen a movie that made me so acutely uncomfortable or watched an actor’s face that, like Dunst’s, expressed a nation’s soul-sickness so vividly that it felt like an X-ray.

Civil War Rated R for war violence and mass death. Running time: 1 hour 49 minutes. In theaters.

An earlier version of this review misidentified an organization in the Civil War in the movie. It is the Western Forces, not the Western Front.

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Manohla Dargis is the chief film critic for The Times. More about Manohla Dargis

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