Scooby Doo And The Samurai Sword 2009 Urdu Free Download Torrent
Scooby-Doo! And the Samurai Sword(Video 2009)
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Animation|Comedy|Family
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7 April 2009
(USA)
Ratings:
6.3/10 from 433 users
Reviews:
3 user|5 critic
Director:
Christopher Berkeley
Writer:
Joe Sichta
Stars:
Frank Welker,
Casey Kasem,
Mindy Cohn
Story
Scooby and the gang fly to Japan for Daphne's (voiced by Mindy Cohn)
martial arts exhibition and land smack in the middle of a mystery. It
appears that the Black Samurai has suddenly arisen from the dead;
finding the Sword of Fate is the only way to fight his larger-than-life
presence. Daphne's skills as a martial artist are put to the test, while
her friends' loyalty is questioned. As the mystery intensifies, so do
the challenges that face our unlikely heroes. Can they, like, master
their own skills and save the day? Watch and see, young samurai.
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Ratings:
6.3/10 from 55,058 users
Metascore: 57/100
Reviews:
263 user|290 critic|
38
from
Metacritic.com
Star race car Lightning McQueen and his pal Mater head overseas to
compete in the World Grand Prix race. But the road to the championship
becomes rocky as Mater gets caught up in an intriguing adventure of his
own: international espionage.
Directors:
John Lasseter,
Brad Lewis
Writers:
John Lasseter (original story),
Brad Lewis (original story)
Stars:
Larry the Cable Guy,
Owen Wilson,
Michael Caine
Story
The originals “Cars” film was a true
family film. It was a rare film in this generation which lacked even
most of the innuendoes found in animated “family” films today. It was
inevitable that a sequel would come, but would Cars 2 fall into the
pattern of remaking the first film with a few new twists? Could it
possibly measure up to the first film? The answer to the first is
pleasing. The answer to the second is not.
Although “Cars 2” features the World Grand Prix as its backdrop, the
story this time around is not about racing at all. The makers of “Cars
2” instead made a spy parody featuring an Aston Martin voiced by Michael
Caine and highlighting “Mator the Tow Truck who is mistaken for an
American spy. Mator unwittingly becomes the hero who must save Lightning
McQueen and thwart the diabolical plans of… “big oil.” That is right.
“Big oil” is the new villain and “Cars 2” is a very political film. Now I
will not engage in a political debate about alternative energy and “big
oil” but I will ask if a movie review is not the place for a political
debate then why is a children’s film? Unfortunately, “Cars 2” does just
that. It is the most political children’s movie since “Happy Feet.”
Now, “Cars 2” is entertaining. It is fun, filled with charm, and
highlights everybody’s favorite character from the first film, “Mater.” I
would not say that the political message is “in your face,” but it is
obvious; so obvious that everyone who has ever heard environmentalists
conspiracists will know the ending an hour before the “revelation”
actually takes place. Personally, I do not mind political opinions in
movies per se, and I loved “Wall-E.” “Cars 2” did not offend me, but I
did feel that the political subplot was actually a distraction from the
film’s spy story. Is “big oil” really the new villain that threatens the
world so that the world’s greatest spies must stop it? Okay, the film
is about cars, so the tie in is obvious, and for that reason I forgive
it.
Politics aside, the film is not much like the original. Whereas the
first film was about a taking life a little slower and getting your
priorities in order, this film is a full on action spy comedy. Cars are
“killed” and murdered. If violence involving cars can be offensive, then
some might find this offensive, for there is ample car crashes and
diabolical attacks on cars. The cars are equipped with guns, rocket
launchers, wings, and everything else one can think of. In terms of sex,
there is none, but there are some mild innuendos. With a nod from the
Bond films, the female spy is named Holley Shiftwell. Other than this,
the film follows Pixar’s tradition of avoiding too many potty jokes, as
other animated films have done.
Ultimately, “Cars 2” is so different in tone and pace from the first
film that it is hard to gauge. It is an enjoyable film in its own rite,
but it is nowhere near as enjoyable as the first movie. At times it
feels like a “Mator” short film enlarged into a feature film. It is
certainly worth a watch, but the viewer may want to keep his
expectations a little lower. If you are not expecting a film like
“Cars,” then “Cars 2” may be an enjoyable hour and a half. It will
certainly continue Pixar’s streak of hit films, and an impressive list
it is. However, as a Pixar film it ranks only above “A Bug’s Life” on my
list, but I guess it is hard when you are competing against yourself,
for Pixar has made the best family films in Hollywood for over a decade
now. I just hope their next effort will be a new story and not another
sequel.
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Jungle Book 1 1967 English Urdu Free Download Torrent
The Jungle Book(1967)
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Animation|Adventure|Family
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7 December 1967
(Argentina)
Ratings:
7.6/10 from 68,185 users
Reviews:
103 user|74 critic
Bagheera the Panther and Baloo the Bear have a difficult time trying to
convince a boy to leave the jungle for human civilization.
Director:
Wolfgang Reitherman
Writers:
Larry Clemmons (story),
Ralph Wright (story)
Stars:
Phil Harris, Sebastian Cabot,
Bruce Reitherman
Story
Disney really do hold a person hostage when it comes to critical
response. The very first cinematic experience I had, was watching a
summer reissue of Bambi, aged 4 (back when you used to get at
least one Donald Duck/Mickey Mouse short before the feature). I actually
credit that movie with promoting my love of film, and more importantly
story, as it was my first encounter with a strength of emotion that I
had been hitherto unaware existed. My second experience of the cinema
was to see the reissue of this ‘Summer of Love’ classic. Just as Bambi had captivated me with its take on family and friendship, not to mention its harrowing depiction of the violence of nature, The Jungle Book left
me feeling like one of Kaa’s entranced victims, endlessly singing ‘The
Bare Necessities’ and ‘I Wanna be Like You’ and trying not to think too
much of George Sanders’ claw-wielding Shere Khan. In short, I loved the
film. With its exotic jungle locales, zany Tom and Jerry antics and vast
array of colourful characters, it would be odd for the movie not to
have cast a spell on my impressionable imagination.
Watching The Jungle Book from the vantage of adulthood, with
so many other Disney movies having sailed under my bridge of
consciousness, I still find it a bright and breezy kids adventure, that
has the arch-menace of George Sanders vocal work to counterpoint the
pally bonhomie of Sebastian Cabot and Phil Harris’s double-act as
Bagheera and Baloo respectively. Despite the dated, at times
near-static, quality of the animation on display, The Jungle Book,
does seem to have an easygoing, rambling, free-spirited energy about
it, that oddly, must have been very much in keeping with the times. It’s
the closest that Disny ever really come to up-to-date musical
relevance, with Louis Prima’s supreme scatting only being about eight
years off the pace. Yet this kind of musical pedantry on my part misses
the point, namely that as a kid these songs are infectious and are
consigned straight to memory. Compared with later efforts such as The Little Mermaid or Beauty and the Beast, both of which feature theatrical and sophisticated levels of musical orchestration, The Jungle Book’s
tunes still win out, just through the sheer quality of their sing-along
lyrics and the rhythmic simplicity of their almost skeletal melodies.
Like many a great Disney adaptation The Jungle Book is very
loosely based on a literary source, namely Rudyard Kipling’s series of
Mowgli stories. It is set in Raj-era India and tells the tale of a
‘man-cub’ Mowgli who, as a baby, is left in the woods. Here he is
discovered by the noble panther Bagheera (one of my all-time favourite
Disney characters, excellently voiced by Sebastian Cabot) who opts to
find a family for Mowgli in a nearby wolf-pack. Mowgli grows up as part
of a wolf family, but then the ferocious tiger Shere Khan arrives back
in this area of the jungle, with the specific need to neutralise the
‘man-cub’ before he grows up to become a fearsome man. With Mowgli’s
wolf family unable to convince the pack to defend one of their own,
Bagheera has to try to safely navigate a way through the jungle and back
to the man-village, so that Mowgli can escape the clutches of Shere
Khan. The main focus of the narrative is a merging of the key plot
points in two separate Mowgli stories from Kipling’s book, ‘Mowgli’s
Brothers’ and ‘Kaa’s Hunting’. In the former we have the confrontation
between Mowgli and Shere Khan, as well as the colourful education at the
hands of Bagheera and Baloo. Whilst the latter story is about Mowgli’s
abduction by the monkeys and his rescue by Baloo, Bagheera, Chil and
that slippery serpent Kaa. Disney omit Chil from the proceedings (a
missed opportunity with a name like that) entirely, whilst they make Kaa
a more obviously villainous, or duplicitous, character than he appears
to be in the stories (in many ways Kaa is the hero of the monkey
section), completely removing his role in the locating of the monkey
hideout. This simplified approach to story does help to foreground some
excellent characterisation, with the Elephants appearing to be a
regiment of the British Army, a group of vultures coming to represent
different facets of 60’s pop iconography and Kaa’s syllabic prolongation
of the letter S (courtesy of the inimicable Sterling Holloway) seeming
suitably insidious, his powers of hypnotism being akin to a acid-induced
trance state.
Very much of its time The Jungle Book offers up some
interesting subtextual elements. Behind Bagheera’s desire to see Mowgli
safely back to the man-village, there is a sense of failure in his own
idealistic ambitions. As Bagheera explains to Baloo, Mowgli needs to be
with his own kind, as otherwise it’s too dangerous for him in the
jungle. Considering the civil rights issues and racial politics that
were so defining of that period of American history, this seems like a
tacit acknowledgement of concerns about racial integration. In Baloo we
have a free and easy character who seems the very epitome of laid back,
‘far-out’, Summer of Love hippiness, and whom at one point pretty much
codifies the tune-in, drop-out ethos of the times, with his monologue on
the unnecessary hassles that people engage in for the sake of
lifestyle. These contemporaneous concerns are then placed alongside the
adoption of Kipling’s Raj-model of the code of the jungle, which is
giving a vaguely ironic, potentially postcolonial, twist in the
dilapidated look of the Elephant Army, with Britain’s officer class
living in a repetitious and pointless little dream world.
Perhaps the most distressing thing about watching The Jungle Book
as an adult, aware of how the movie-making process occurs, is in
discovering just how obviously Disney were struggling to live up to
their own illustrious technical standards. The Jungle Book was
the first of Disney’s films to be produced in the lean period of budget
cutbacks and restructuring that lasted for over two decades. Director
Reitherman was part of a generation of artists and writers who had grown
up within the Disney family and who would oversee the decline in
Disney’s fortunes as a direct result of the lack of new young blood
coming through the ranks to replace them. Early indicators of the
troubles to come can be found in The Jungle Book’s repeated
recycling of various different sequences (Kaa’s falling from the tree
routine, Bagheera’s hitting off of something, the marching elephants).
As a child this probably went unnoticed, the familiarity of image, if
anything, possibly being preferable. However, in light of what was going
to come, this is an unfortunate scar on what should have been a
flawless Disney classic. Reitherman was seen by many as heralding in the
era in which Disney appeared to have a crisis of confidence, lacking
the grand ambitions and cutting-edge animation of ‘the golden era’ of
the 30’s and 40’s. Certainly there is something far more low-key about
works like Robin Hood and The Rescuers, but The Jungle Book should
still be considered as belonging amongst the Disney classics. Speaking
for my 5 year-old self, I can distinctly remember the spellbinding
effect the movie had on me when I saw it up there on the big-screen,
whilst the fire climax seemed truly terrifying. Would a diet of
technically groundbreaking Pixar fare inure today’s children to the
pleasures of life’s bare necessities? I really can’t answer that with
any objectivity, as I’m still trying to get my tongue around a paw-paw
and a prickly pear.
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The Polar Express 2004 In English Free Download Torrent
The Polar Express(2004)
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Animation|Adventure|Family
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10 November 2004
(USA)
Ratings:
6.5/10 from 68,441 users
Metascore: 61/100
Reviews:
412 user|177 critic|
36
from
Metacritic.com
On Christmas Eve, a doubting boy boards a magical train that's headed to the North Pole and Santa Claus's home.
Director:
Robert Zemeckis
Writers:
Chris Van Allsburg (book),
Robert Zemeckis (screenplay)
Stars:
Tom Hanks,
Leslie Zemeckis,
Michael Jeter
Story
“The Polar Express” is a classic
children’s story written and illustrated by Chris Van Allsburg and
translated to the big screen with an equally original vision by Robert
Zemeckis who directed the movie and co-wrote the screenplay.
Zemeckis adds many original details to the story about a boy who
lacks the faith to believe in Santa Claus. On Christmas Eve the parents
remark how much the sleeping boy has grown and that it will soon be the
“end of the magic” of childhood. The boy hears and wonders at this,
even as a magical train stops outside his house. The conductor tells him
that their destination is the North Pole, and he gets in a car with
other children who are also in their pajamas.
The visuals are luscious and richly-textured. Zemeckis colors
the story with the same Baroque surrealism of the book, using a shadowy,
Ruebens-like palette. The atmosphere is similar to that in Robert
Frost’s “Stopping by Woods on a Snowy Evening”—darkly mysterious and
faintly menacing. Fat snowflakes fall throughout the night-time journey
as the train passes over high mountains, across an icy desert, and
through gloomy, moon-lit forests filled with hungry wolves.
Like many journeys, this one is allegorical. The children learn
what their peculiar faults are and how they must overcome them. In this
sense, it bears a strong likeness to the “Wizard of Oz” in that it has
four characters sharing a journey to a magic city where they receive the
knowledge about themselves they were lacking. Thematically, it is even
more similar to John Bunyan’s Pilgrim’s Progress because of the underlying spiritual theme of belief.
The premise of the movie is that as one grows old one loses
one’s ability to hear the ringing of a bell from Santa’s sleigh. This
belief in Santa, unlike a Christian’s belief in God, is at first based
on the act of seeing. During the journey the Hobo tells the boy that
“Seeing is believing.” When they arrive at the North Pole the boy is
saddened that he cannot hear the bells on Santa’s sleigh and that he
cannot see Santa through the crowd of elves. In desperation, he repeats
to himself “I believe, I believe,” and in that moment, as if in answer
to a prayer, Santa appears at his side. Afterwards, the conductor tells
him that “Seeing is believing, but sometimes the most real things are
those you can’t see.”
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