Tuesday, 28 May 2013

Scooby Doo And The Samurai Sword 2009 Urdu Free Download Torrent

Scooby-Doo! And the Samurai Sword (Video 2009)
 -  Animation | Comedy | Family  -  7 April 2009 (USA)
Ratings: 6.3/10 from 433 users  
Reviews: 3 user | 5 critic
Christopher Berkeley
Joe Sichta
Frank Welker, Casey Kasem, Mindy Cohn 
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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Sunday, 26 May 2013

Cars 2 (2011 ) In English Free Download Torrent

Cars 2 (2011)
 -  Animation | Adventure | Comedy  -  24 June 2011 (USA)
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.
John Lasseter, Brad Lewis
John Lasseter (original story), Brad Lewis (original story)
Larry the Cable Guy, Owen Wilson, Michael Caine  
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)
 -  Animation | Adventure | Family  -  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.
Wolfgang Reitherman
Larry Clemmons (story), Ralph Wright (story)
Phil Harris, Sebastian Cabot, Bruce Reitherman
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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Saturday, 25 May 2013

The Polar Express 2004 In English Free Download Torrent

The Polar Express (2004)

 -  Animation | Adventure | Family  -  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.
Robert Zemeckis
Chris Van Allsburg (book), Robert Zemeckis (screenplay)
Tom Hanks, Leslie Zemeckis, Michael Jeter
“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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