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Legendary filmmaker K S Sethumadhavan no more

The evergreen movies like “Odayil Ninnu”, “Anubhavangal Palichakal”, “Oppol”, “Aranazhikaneeram”, “Achanum Bappayum” and so on, which are considered landmark films Malayalam, were the contributions of Sethumadhavan.

Born in 1931 in northern Palakkad district of Kerala, he entered into tinsel town as an assistant director to K Ramnath.

After launching himself as an independent filmmaker through the Sinhalese movie “Veeravijaya” (1960), he directed his first Malayalam film “Jnana Sundari”.

It was Sethumadhavan who introduced iconic Kamal Haasan as a child actor in Malayalam through the move “Kannum Karalum” and in the lead role through his film “Kanyakumari”.

When team manager PR Man Singh let Kris Srikkanth break BCCI rule

“My father also felt very proud, he relived the moment and the way Pankaj Tripathi portrayed his role was phenomenal,” Vikram continued. “The role of manager is very important in any team. He takes care of things to make it easy for sportspersons to just concentrate on the game rather than worry about day-to-day matters.”

Talking about his father, Vikram told IANS: “When he was the manager of that historic team in England, my father made sure the players didn’t get affected by any off-field issues. Nowadays, you will find a large support staff goes with the team for any major event, but my father at that time was handling everything all alone. He was the only one who went with the team with limited resources.”

And Man Singh also broke a few rules, issued by the BCCI at that time, to provide relief to players.

“WAGS (Wives and Girlfriends) were not allowed to travel with the team at that time,” Vikram recalled. “And the BCCI’s rules were really strict. The players were agitated about this, as other countries were allowing it. Just before the 1983 World Cup, Krishnamachari Srikkanth got married and his wife was there in England, but she was staying in her friend’s house.

Spider-Man: No Way Home could end up the only billion …

Spider-Man: No Way Home could join the billion-dollar club.


Marvel

The new movie Spider-Man: No Way Home may be finding a way home after all — to the billion-dollar club. The movie swung into theaters on Dec. 17, and even before that, it was breaking ticket-sale records and trailer-release records. It earned $253 million in its opening weekend, the highest opening weekend in the 19-year history of live-action Spider-Man movies.

As of Tuesday, the film had earned more than $751.3 million in worldwide ticket sales, CNBC reported. Only two Chinese films, Hi Mom and The Battle of Lake Changjin, have earned more this year.

Entertain your brain with the coolest news from streaming to superheroes, memes to video games.

“Exceeding $1 billion [in 2021] is a foregone conclusion at this point, barring any drastic turn of pandemic events,” Shawn Robbins, chief analyst at BoxOffice.com, told CNBC. That’s especially impressive considering that the film is only available in theaters and many movie-goers are wary of crowds due to the quick-spreading omicron variant of the coronavirus.

CNBC notes that the eight-day period between Dec. 24 and Dec. 31 is one of the most lucrative periods for the movie industry.

Making it to the billion-dollar club is nothing new for a Marvel character, though Spider-Man is a Marvel-Sony film. Captain Marvel was the seventh Marvel film to do it back in pre-pandemic 2019. DC Comics did it for the first time in 2018 with Aquaman. In 2019, Joker became the first R-rated film to cross the billion-dollar barrier.

If Spider-Man: No Way Home crosses that line, it’ll likely be the only Hollywood film to do so in the pandemic-affected year of 2021. 

Movies coming in 2022 from Marvel, Netflix, DC and more

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LIVE News Updates: Night curfew from 11 pm to 5 am in several cities of Gujarat from Dec 25

ANI reported that India reported 6,650 new Covid cases, 7,051 recoveries, and 374 deaths in the last 24 hours. This takes the number of active cases to 77,516, the total recoveries to 3,42,15,977, the death toll to 4,79,133, the total number of Omicron cases to 358, while the total vaccination stands at 1,40,31,63,063.

’83’ Review: Cathartic, sobering, a piece of nostalgia

The world cup victory is a milestone that demands a lot, on paper, from the filmmaker, of its fictional recreation on screen. Khan appears to go about things direct dil se—at times being rulebook faithful to reality, just as he takes fanciful liberties with things otherwise. Events we are certain would not have happened for real, but they fit in with Khan, and the film’s worldview. There is a conscious exercise to not be that perfect, brilliant, classic sports film but one that consciously packs in liberal doses of humour and a solid emotional wallop, however broad be the brushstrokes or simplistic be the stirrings. You flow along with even the most cringe expressions of nationalism: “Azaadi to jeet gaye, izzat jeetna baaki hai (We have won the independence but not the self-respect and dignity as yet).” You allow yourself to be emotionally manipulated with the blood on shirt and seven stitches of Dileep Vengsarkar in the face of the hostile short-pitched bowling from West Indies pacers. The suddenly friendly Pakistan on the border on the day of the finals and a woman in labour at the fall of the ninth West Indian wicket—you smirk, smile and willingly suspend your disbelief.

There is a spontaneous intimacy that gets fostered between the audience and Jimmy, Kaps, Humphreys, Jimpa, Madipa et al on screen. The actors do not entirely look or behave like the real-life heroes of the game, but it frees them from the shackles of mimicry to own the characters other ways. Ranveer Singh with the toothy grin and open face of Kapil Dev leads from the front with commitment and aplomb and talks with his eyes. Other team members also get defined in their own way, with Saqib Saleem as Mohinder Amarnath, Jiiva as Kris Srikkanth and Jatin Sarna as the belching Yashpal Sharma stealing the golden moments of the film. Wish there was some more of the Gavaskar and the supposed tension though. And then there are these sweet touches, of Mohinder Amarnath stepping in, in the role of his father, Lala Amarnath. Real Kapil Dev (not as himself) cheering on the reel Kapil Dev on screen and a tiny Sachin Tendulkar getting inspired to play the game.

Movies Coming Soon December 24th, 2021, Upcoming Movies …


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Gunpowder Milkshake

Theatrical Release Date: 12/31/2021
Language: English
Genre: Action/Adventure
MPAA Rating: R
Director: Navot Papushado
Actors: Karen Gillan, Lena Headey, Carla Gugino, Angela Bassett
Plot: Master assassin Scarlet was forced to abandon her daughter, Sam, and go on the run. Adopted by the very agency her mother worked for, Sam is raised as an elite assassin herself. Years later, Sam finds herself at odds with the same agency and, going rogue, reunites with her mother – along with a few friends – and decides to bring down that agency that took so much away from them.

Year 2021 leaves us with trauma of pandemic, hatred, division; and a longing for peaceful past takes over

Let’s come back to the present realities. With that, all that I can say: We were better off in those years passed by…when verse and sentiments held sway, with carefree abundance holding out. There was less of violence, hate and divisions and more of togetherness and free flow of the arts and creativity, of words and verse.

Leaving you with Kerala’s celebrated rebel poet Balachandran Chullikad’s verse titled Ghazal:

December 31

In the music hall of the night

Club

Ghulam Ali sings

I’m the singer of lost days …

As the music flows, melting

Urdu with the pangs of separation

Into the soft resonance of Ali’s

voice…

A long pent up melody of grief

breaks open the tremulous

window of the harmonium

Inside, the heart reverberates

with

The tabla of season less years

As Ghulam Ali sings …

*****

Also this verse of the last Mughal Emperor of India, Bahadur Shah Zafar (1775 – 1862), to give us the required hope as we move ahead from 2021:

Ode to Hindustan

Matchless is the soil of Hindustan

In it grow love, compassion, fidelity

As sure as the sun rises from the East

So surges from this land sincerity.

This is the true seed of Hind and from its earth

These fruits have spread across the world, far and wide.

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The Keanussaince Will Take a Break as John Wick 4 Gets Delayed to 2023

Here’s how you know things are getting bad with the coronavirus again: when massive movie studios start pushing back their films instead of attempting to make as much money as possible as quickly as possible. It’s not for the audience’s safety, of course—it’s for the box office’s safety, in that by postponing the film to a later date, it will generate more ticket sales than it would on its original date. And the first major movie to be delayed is the fourth outing of the world-class assassin and noted dog-lover John Wick.

John Wick 4 will now premiere on March 24, 2023, instead of May 27, 2022, as was planned after Lionsgate delayed the movie from its original date, May 21, 2021, because of the coronavirus and Reeves’ commitments to shooting The Matrix: Resurrections (which coincidentally happens to be out today, December 22, on HBO Max and in theaters).

At least we got a fun little video to announce the new release date. Here:

You’ll note a placard reading “Anderson, T.” is being removed from the Top Bounties board, a clear nod to Tom Anderson, Keanu’s character from The Matrix movies (you might better know him as Neo). Let us know in the comments if you spot anything else.

In addition to Reeves, Ian McShane, Lance Reddick, and Laurence Fishburne are all reprising their roles as Winston, Charon, and the Bowery King, respectively, for John Wick 4. They’ll be joined by newcomers to the franchise Donnie Yen (Rogue One), Hiroyuki Sanada (Mortal Kombat), Bill Skarsgård (It: Chapters One and Two), Shamier Anderson (Wynonna Earp), Scott Adkins (the Undisputed movies), and Clancy Brown (who’s in everything); it also features the film debut of the Japanese-born, English-raised, pop star/model Rina Sawayama as Akira.


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Power up your holiday
EcoFlow is offering deals on their portable power stations: to make it easier to feel cozy at home. Especially if you’ve overloaded yours with good cheer and accidentally knocked the power out.

Netflix’s Best Original Movies: December 2021 Edition

With awards season upon us, Netflix is finishing the year strong by publicly unveiling the selections they’ve trotted around the festival circuit for the past few months. Such high-prestige Oscar contenders as Jane Campion’s triumphant comeback oater and another staggering vision of lust for life from Paolo Sorrentino (already Italy’s submission for the foreign-language Academy Award) class up the joint in the first half of December, soon to be joined by Maggie Gyllenhaal’s well-feted directorial debut and an in-your-face climate change satire from Adam McKay. And that still leaves room for the Spanish locked-room thriller about the pair of petrified strangers sewn together at the torso. Whatever might tickle your fancy, you’ll find it in this month’s lineup of original film releases — read on for a breakdown of the best.



Essential Streaming

The Power of the Dog

Who does Jane Campion think she is, taking twelve years off from feature directing to do TV and then waltzing back into the world of film with a stone-cold masterpiece like she never went anywhere? She’s at the height of her considerable powers in this queer Western, bringing a newfound visual majesty (thanks in part to godly cinematography from Ari Wegner) to her career-long interrogation of eroticism and how it’s distorted by sensitive male egos. Benedict Cumberbatch is Phil, an embittered, closeted cowpoke mourning his deceased lover; Kodi Smit-McPhee is the youngster he channels his self-loathing onto before taking under his wing; Kirsten Dunst is the boy’s mother, allaying her concern with booze; and Jesse Plemons is caught in the middle as her husband and Phil’s brother. They all give career-best showings under Campion’s expert tutelage, conveying the raging infernos of repressed desire that the setting won’t allow them to speak aloud.

The Hand of God

Italy’s maximalist extraordinaire Paolo Sorrentino goes back to his roots with this künstlerroman coming-of-age picture recounting one pivotal summer in Naples. His stand-in is the angular teen Fabietto (Filippo Scotti, a talent bound to rise quickly after his fine showing here), whose family’s sun-drenched villa is upended by three massive developments: superstar footballer Diego Maradona getting traded to Napoli, a filmmaker in the mold of Fellini coming to shoot his new movie in town, and the arrival of Fabietto’s gorgeous, unwell aunt Patrizia (Luisa Ranieri). His head swimming with lust and cinephilia, the kid stumbles from one revelatory experience to the next, most involving his big, boisterous family. Along the way, he gains a sense of direction and dips a toe into the waters of adult sexuality in a memorable scene that’s extremely — what’s the word? — European. Crackling with passion and self-effacing humor, it’s Sorrentino’s strongest work in nearly a decade.



Also Showing

Single All the Way

You’d have to be a real grinch to deny that there’s some morsel of charm to a film with the good sense to cast Jennifer Coolidge as a kooky aunt. But in this reverse Happiest Season — rather than a same-sex couple pretending to be galpals to appease conservative parents, it’s two gay friends (Michael Urie and Philemon Chambers) making like they’re coupled up to satisfy open-minded parents — the gifts are few and far between. Every stale rom-com convention (oh, look, a soulful old man with a shop that needs painting!) gets trotted out with nothing fresh but the demographic, and while there’s an argument to be made that queer romantics deserve the same middling Yuletide courtships heterosexuals have had for years, there’s also an argument to be made that everyone deserves more. Urie and Chambres may be an innately winning couple, but the dialogue stuck in their mouths like hardened Christmas fruitcake can’t keep pace with their natural chemistry.

The Whole Truth

Once at the forefront of the Thai New Wave, director Wisit Sasanatieng still excels even when plugged into Netflix and assigned a Wan-influenced haunted-house horror. A pair of high schoolers — brother Putt (Nattapat Nimjirawat) and sister Pim (Sutatta Udomsilp) — go to stay with their grandparents while Mom’s recuperating from a car crash in the ICU, and as is the case with most young people’s visits to the elderly, the kids find everything different in a weird way. Except this isn’t a matter of odd smells and uncomfortable chairs; a small peep hole in the living room wall offers Putt a glimpse at what looks like a decomposing parallel universe. The eventual clarification of what lies behind this divide and the significance it has to the family’s morbid history more than justifies its hefty run time. Even if it didn’t, Sasanatieng also mines all the psychological symbolism he can from this charged narrative device, landing somewhere in the id-baiting neighborhood of “Being John Malkovich in Hell,” minus the meta.

Mixtape

There’s something kind of perverse about combining ’90s punk nostalgia with a cutesy, kid-friendly comedy that emphasizes the vital importance of friendship and family, but writer Stacey Menear mostly makes it work by nailing the particulars of music fandom. We’re in alternative culture hub Spokane, WA, in the lead-up to Y2K, and plucky tween Beverly (Gemma Brooke Allen) has just discovered the mixtape her teen mom made for her dad before they both perished in a car crash all those years ago. The cassette goes kablooey, but she’s still got the playlist, sending her on a mission to track down these tracks in a pre-Spotify world. Menear’s script can talk the talk and walk the walk, name-dropping Girls at Our Best, The Quick, and the Blue Hearts with an awareness of what those acts signify. Moreover, she understands and respects the labor once required of crate-diggers, clearly enamored of the unique record-store atmosphere replicated credibly here. It’s enough to tamp down the sticky sentiment of the story at hand, told as it is in chirpy one-liners.

The Unforgivable

For her first role in the three years since Bird Box, Sandra Bullock returns to Netflix for a bleak character study of a sinner trying to make good. As ex-con Ruth, fresh out of prison for killing the cop that tried to evict her and her younger sister Katie (Aisling Franciosi, underused) when they were just little orphans a couple decades ago, she wants to start over and make inroads with the sibling who doesn’t even remember Ruth exists. But there’s also a romantic subplot with a strapping coworker (Jon Bernthal) at her construction gig, and a subplot about earning the respect of Katie’s adoptive parents (Richard Thomas and Lina Emond), and a subplot about the dead officer’s vengeful sons (Tom Guiry and Will Pullen), and a subplot with the new inhabitants of Ruth’s girlhood home (Viola Davis and Vincent D’Onofrio). It’s altogether far too much clutter for a portrait that would be more effective with some room to breathe, letting Bullock really dig her incisors into the role instead of being hustled from one contrivance to the next.

Two

From Spanish sicko Mar Targarona comes this fine addition to the canon of People Stuck To Things cinema, joining the sadistic likes of Saw and Netflix’s own Gerald’s Game. Except Sara (Marina Gatell) and David (Pablo Derqui) aren’t chained to a pipe or a bed, but each other! They wake up to find that their torsos have been sewn together by some unseen psychopath, a real pickle they must use their wits and limited mobility to escape. In this film’s shrewd sixty-seven minutes, Targarona takes this premise as far as it can go and then excuses himself at just the right time, before we can think too hard about the spectacularly idiotic explanation for Sara and David’s fleshy predicament. It doesn’t commit to the bit with the stomach-turning brio of Human Centipede, but it’s more vividly realized and tactfully unloaded than most of Netflix’s horror cheapies.

Where Harry Potter and Sherlock Holmes live

Characters in novels have a home. In some cases, fictional addresses are precise, complete with apartment number, street address and town. 

The address 7 Eccles Street in Dublin refers to the row house of Leopold Bloom, the protagonist of James Joyce’s 1922 novel, “Ulysses.” The house existed but was demolished in 1967. There is now a hospital on that site.

In his stories, the author Hugh Lofting placed Doctor John Dolittle, who famously spoke with animals, in an English village he named Puddleby-on-the-Marsh.

In some cases, the authors simply give their protagonists a home in mansions and halls such as Manderley (Daphne du Maurier’s “Rebecca”), the Pemberley country estate (Jane Austen’s “Pride and Prejudice”) or a plantation by the name of Tara (Margaret Mitchell’s “Gone with the Wind”).

Harry Potter lived with the Dursleys, and at Hogwarts

Harry Potter: 4 Privet Drive  

The famous wizard from J.K. Rowling’s “Harry Potter” series lived with the Dursleys — his aunt, uncle and cousin –– in the regular, nonmagical “muggle” world.

His room at the Dursleys’ was a small dusty cupboard under the stairs in a nondescript house at 4 Privet Drive, Little Whinging, Surrey.

Another world-famous famous address in the celebrated books is Platform No. 9 3/4 at King’s Cross Station. It is where Harry finds the secret entrance to a magical train station, and the Hogwarts Express, a train that takes him to the iconic Hogwarts School of Witchcraft and Wizardry — where the young wizard feels really at home. 

Bilbo’s home on the movie set of the “Lord of the Rings” in New Zealand

Bilbo Baggins: Bag End, Bagshot Row

“In a hole in the ground there lived a Hobbit. Not a nasty, dirty, wet hole, filled with the ends of worms and an oozy smell, nor yet a dry, bare, sandy hole with nothing in it to sit down on or to eat: it was a Hobbit-hole, and that means comfort.”

That is the opening sentence of J.R.R. Tolkien’s 1937 fantasy novel for children, “The Hobbit.”

Bilbo Baggins’ home is at the very end of Bagshot Row, in Bag End, Hobbiton, in the Shire in Middle-earth.

Phileas Fogg sets out on a journey around the world to win a bet

Phileas Fogg: 7 Savile Row  

The protagonist in Jules Vernes’ 1872 novel, “Around the World in 80 Days,” is an elegant 19th-century English gentleman by the name of Phileas Fogg.

To win a bet with fellow members of the Reform Club, he ventures on an exciting journey that takes him around the world — and he makes it back to London just in time, thanks to time zones and the international date line.

His home address is 7 Savile Row in London. It is described in the novel as a “fashionable address” and “the former home of Sheridan,” who was an actual Irish satirist, politician, playwright, poet and theater owner from the beginning of the 19th century.

Benedict Cumberbatch, left, as Holmes and Martin Freeman as Dr. John Watson

Sherlock Holmes: 221B Baker Street  

In the late 19th and early 20th centuries, Scottish writer Sir Arthur Conan Doyle published dozens of mystery novels surrounding the tricky cases solved by the world-renowned fictional detective Sherlock Holmes, along with his sidekick and friend, Dr. John Watson.

Also well known by the detective’s fans is his address: 221B Baker Street,  London. Holmes rents the space from Mrs. Hudson, who also serves as his housekeeper.

Though the fictional address is set on a real street, when the stories were written the address numbers on Baker Street did not go as high as 221.

Later, an extension of the street led to a long-running dispute between the building society Abbey National, which was located at 219–229 Baker Street, and the Sherlock Holmes Museum, located between 237 and 241 Baker Street. 

They were both eager to be in charge of answering the mail addressed to Sherlock Holmes.

Meanwhile, Abbey National has changed headquarters and the museum has since obtained the permission to bear the special address — and even has a blue plaque commemorating the famous character’s home.

Hercule Poirot, left, in the 1974 film “Murder on the Orient Express”

Hercule Poirot: 56B, Whitehaven Mansions    

A series of novels by Agatha Christie, the author of books that sold millions of copies worldwide, center on yet another famous fictional detective — a mustachioed, retired Belgian police officer and World War I refugee turned world-famous private detective named Hercule Poirot.

Short, vain and using the help of what he calls his “little grey cells,” Poirot investigates mysteries in some of Christie’s best-loved crime stories, including the 1933 “Murder on the Orient Express.”

He, too, lives in London, at the fictional address of Flat 203 at 56B, Whitehaven Mansions. 

A London Art Deco building called Florin Court served as the real-life location used to reproduce the exterior of Whitehaven Mansions in the “Agatha Christie’s Poirot” TV series.

Tintin and Snowy are off on an adventure again

Tintin: Marlinspike Hall

Tintin is the hero and main protagonist in “The Adventures of Tintin,” a 24-album comic series by Belgian cartoonist Herge. The comics have been translated into more than 100 languages. 

Though the boyish-looking reporter with the blond forelock, his fox terrier, Snowy, and their friend the seafaring Captain Archibald Haddock are best known for their many adventures that take them all over the world, their home is a mansion called Marlinspike Hall (a marlinspike is a tool used by sailors) in Belgium. 

The Mary Poppins books were made into popular films

Mary Poppins: 17 Cherry Tree Lane

In the children’s classic “Mary Poppins,” a magical nanny arrives at the Banks’ family home in London, at Number 17 Cherry Tree Lane.

The Australian-born author P.L. Travers told the adventures of Mary Poppins in a series of eight books. In the 1964 musical film, two songs about the Banks family are actually called Cherry Tree Lane: “No wonder the Nannies are driven insane, We’re living in a madhouse in Cherry Tree Lane.”

Arthur Dent delaying bulldozers from demolishing his home in scene from 2005 film

Hitchhiker’s Guide to the Galaxy: Galactic Sector ZZ9 Plural Z Alpha

The story, according to the prologue, “begins with a house.” 

Arthur Dent, an anxious Englishman and the protagonist of the science fiction novel “The Hitchhiker’s Guide to the Galaxy” by Douglas Adams, lived in a house that “stood on a slight rise just on the edge of the village. It stood on its own and looked out over a broad spread of West Country farmland. Not a remarkable house by any means — it was about 30 years old, squattish, squarish, made of brick, and had four windows set in the front of a size and proportion which more or less exactly failed to please the eye.”

One morning, a bulldozer shows up to demolish the house, setting an entire madcap adventure in motion.

In fact, Earth, along with Dent’s house of course, was to make way for a hyperspace bypass.

The fictional sector containing the earth is given as Galactic Sector ZZ9 Plural Z Alpha — another fabulous address for the books.

 

Edited by: Elizabeth Grenier