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Kochadaiiyaan opens with a prologue that tells us that the two kingdoms, Kottaipattinam and Kalingapuri, have been at war with one another for generations. We see a boy from Kottaipattinam, who is about to drown, being rescued and the boy, Rana, grows up to become a soldier in Kalingapuri. He earns the friendship of the prince Veera Mahendran, and is made the general of its army. He seeks the king's permission to attack their enemy nation but on the battlefield, Rana reveals himself to be the son of Kochadaiiyaan, the famed general of Kottaipattinam and admits that he enacted a drama to rescue the soldiers of his motherland, who were being held as slave labourers there. Rana is received with joy by his king and even gets him to marry the prince to his sister, but he also has an ulterior motive — to kill the king, who had unfairly sentenced his father to death. Kochadaiiyaan succeeds not because of technology but because of the writing. The film is motion capture 3D computer-animated but the animation is primeval; both the motion capture and the texture of the visuals are closer to The Polar Express than Avatar or Tintin. The long shots aren't problematic but whenever the camera cuts to a close-up, we are drawn to the inanimate nature of the expressions. The characters feel like caricatures of the real-life actors we have known. The movements of the actors, too, are robotic (in dance numbers, it feels like the characters are doing yoga), and the detailing is far from perfect, especially for characters in the background. There is also inconsistency in the animation. Some of the scenes seem to have sheen while in some the perspective fluctuates; there are times when a boulder looks as big as the man standing on it and blades of grass look like miniature paddy plants. But the sweeping camera work, the proficient voice over work by the actors, and the energetic background score compensate for these blemishes. Once the plot kicks into gear, the animation takes a backseat and the narration starts to hold our attention. The songs and the stunts are woven into the story and do not stick out. Like any other Rajini movie, Kochadaiiyaan, too, worships its star. His character appears in almost every scene and there are fan-pleasing moments in the form of stylistic gestures and dialogues. The story initially seems like a typical simplistic revenge fantasy (a son avenging his father's death) but as the plot progresses, we realize it is a bit more complex than that. The film actually ends by leaving its lead character in a moral dilemma. His family has served the king and protected him for generations but now, the son has acted otherwise. What fate does his action beget him? What happened to Rana's elder brother who has vanished mysteriously? Where is his friend who abdicated the throne to marry the girl he loved and chose to leave his kingdom? Will the enemy prince that Rana let live return? With such interesting questions, Soundarya has set up the knot for a deserving sequel.
Petra Going is a migrant cyborg, an agent of the Global Nomad Project: an international “Experience Data Agency” which sends hundreds of “receivers” like her to wander the globe and record a succession of random encounters. Periodically, they return to agency headquarters where they deposit their accumulated memories into an archive. This archive is available to users who then vicariously and virtually inhabit the ready-made landscapes of touristic consciousness. The motto of the GNP: “Nostalgia For Rent.”
At the end of the eighth day the Creator has taken refuge in a dark dungeon . Obsessed with transcending he manipulates life to the extreme and tries to engender the perfect being that will immortalize him
A young idealist, Ethan, is left searching for his family while fighting the infected, Med-Ex militia and bloodthirsty marauders, and the ghosts of his past.
A love-themed anthology adapted from the music album of the same title by Dewi "Dee" Lestari.
The star of a team of teenage crime fighters falls for the alluring villainess she must bring to justice.
A master thief recruits a notorious thief to help him steal two famous Faberge eggs from an impenetrable vault in an effort to pull off one final job and repay his debt to the Russian mob.
DEEP WATER is the stunning true story of the fateful voyage of Donald Crowhurst, an amateur yachtsman who enters the most daring nautical challenge ever – the very first solo, non-stop, round-the-world boat race.
When LexCorp accidentally unleashes a murderous creature, Superman meets his greatest challenge as a champion. Based on the "The Death of Superman" storyline that appeared in DC Comics' publications in the 1990s.
Follow Ariel's adventures before she gave up her fins for true love. When Ariel wasn't singing with her sisters, she spent time with her mother, Queen Athena. Ariel is devastated when Athena is killed by pirates, and after King Triton outlaws all singing. Along with pals Flounder and Sebastian, Ariel sets off in hopes of changing her father's decision to ban music from the kingdom.
The film is a sub-story to Kirikou and the Sorceress rather than a straight sequel. The movie is set while Kirikou is still a child and Karaba is still a sorceress. Like Princes et princesses and Les Contes de la nuit, it is an anthology film comprising several episodic stories, each of them describing Kirikou's interactions with a different animals. It is however unique among Michel Ocelot's films, not only in that it is co-directed by Bénédicte Galup (who has previously worked with him as an animator) but also for each of the stories being written by a different person (in all other cases, Ocelot has been the sole writer and director of his films).