TIGER ZINDA HAI MOVIE download from vidmate

 TIGER ZINDA HAI MOVIE download from vidmate

It’s inspired by the real-life incident of the rescue of Indian nurses held hostage in Iraq by terrorists and at the helm of affairs of the mission is Indian RAW agent Tiger (Salman Khan).

TIGER ZINDA HAIThe story picks up from where the first film in the franchise left off. Indian RAW agent Tiger (Salman Khan) and ISI agent Zoya (Katrina Kaif) are married and living a peaceful life with their son. Eight years have gone by since they decided to choose love over their missions. But their plans will change very soon, with another mission (most impossible) coming up for this sota hua Tiger.

Tiger’s ex-boss Shenoy (Girish Karnad) tracks him down and wants him to rescue 25 Indian nurses who are held hostage at a hospital by a dreaded terrorist organisation that has taken over Iraq. From here, it’s a Salman Khan show all the way with his star power and screen presence looming large, ably aided by Katrina Kaif who jumps into the fray as 15 Pakistani nurses who are also held hostage with the Indians need to be rescued. The other USP of this mission is, that Tiger brings together Indian and Pakistani agents to fight terror in Iraq, for the sake of humanity. And, not surprising then that there is a fair sprinkle of patriotic one-liners, too. And all this is happening with oodles of swag and style. (Obviously!)

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The film is visually stunning in parts and Salman Khan plays Tiger with roaring confidence and dialogues packed with punch. Of course, his fans get a true-blue Salman Khan moment when he bares his torso. However, the screenplay often loses focus, slackening the film’s pace and our attention. Director Ali Abbas Zafar had a lot of ammo in hand, with the star power of Salman Khan and Katrina Kaif adding to that. But the direction falters and he is unable to keep you riveted through the film’s runtime. Supporting actors that make up the rescue mission team are competent and Paresh Rawal delivers a dependable performance. Katrina Kaif gets into action-girl mode, displaying some kick-ass stunts. Meanwhile, the antagonist, Abu Usman (Sajjad Delafrooz), heading the terrorist organisation, is effective in his role.

With such a premise, the storyline needed to be far more compelling and the editing much tauter. Needless to add, a lot of sequences defy logic, but at the same time, there are many moments that will leave Salman Khan and action film fans impressed.

THE POST MOVIE download from vidmate

THE POST MOVIE downlaod from tubemate

Steven Spielberg directs Meryl Streep and Tom Hanks in a historical drama about the controversial publication of the Pentagon Papers in the early 70’s.

THE POST  Fuelled by the turn of events in the US over the past year, Spielberg put together this high-profile project in a tight 6 months from shoot to screen. For this task, he assembled some of the finest character actors working in Hollywood today, bringing heavy-hitters Hanks and Streep together for the first time on-screen. All these talented individuals sparkle in a blend of classic storytelling – something that only an auteur like Spielberg could pull off in such a quick turnaround time.

To make this story resonate with more impact, writers Josh Singer and Liz Hannah choose to slowly ramp up the pace to a provocative finale. All the essential exposition makes the journey slightly taxing in the first act, but there are ample nuggets of brilliant performances and filmmaking artistry on display that compel you to see it through. Spielberg’s touch is evident in every frame, with exceptional camera movement and scene-blocking that should be taught in film schools. Punctuated by John William’s swelling score, pivotal acting moments are aplenty. As expected, Streep and Hanks lead the charge as the Washington Post’s publisher Katherine Graham, and editor Ben Bradlee respectively. The two cinematic stalwarts are mesmerizing to watch but Streep overshadows the rest of the predominantly male cast, outshining them all at every turn. Graham’s character arc is perhaps the most rewarding as she comes to terms with the power bestowed upon her by chance. Hanks plays against type as the blunt, no-nonsense editor whose journalistic integrity is decisive in the series of events. But in a film filled with strong performances, Bob Odenkirk is particularly memorable as assistant managing editor Ben Bagdikian.

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‘The Post’ goes beyond chastising clickbaity media sensationalism and serves as a stark reminder of the purpose of the press in any democracy. This allows the message of the film to transcend boundaries, and inspire newsmakers across nations to remember who the press serves in the end. Granted, some of it might be a bit hard on the nose, but Spielberg knows there could not be a better time to address freedom of speech, especially when it is challenged on a daily basis. Similiar to a handwritten letter that takes its time, ‘The Post’ is not a standard thrilling political drama but comes home in the end in another essential addition to the filmography of an influential filmmaker.

AKSAR 2 MOVIE download from tubemate

 AKSAR 2 MOVIE download from tubemate

Sheena Roy is hired as a governess for Madame Khambatta, a wealthy seventy-year-old lady, by her trusted investment banker. The plot thickens and the real motive of each character is revealed when the investment banker forces Sheena to indulge in a sexual relationship with him.

AKSAR 2 REVIEW: Aksar 2 starts on the right note when Sheena Roy (Zareen Khan) is hired by investment banker, Patrick Sharma (Gautam Rode) to take care of Miss Khambatta (Lillete Dubey), whose previous caretaker meets with an accident and expires. While Sheena has a boyfriend, (Abhinav Shukla) she lies to Patrick about being single. When Patrick forces her to indulge in a sexual relationship, Sheena reveals her true self. This lands Patrick in a mess as he realises that he is not the only one who is hiding his real motives.

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Zareen Khan in the role of the governess with ulterior motives is good in parts. On the other hand, Gautam Rode in his debut on the big screen, comes across as a one trick-pony with not too many expressions on display, even though he gets to play a charcater with more than one shade. Lillete Dubey as the aged Madame Khambatta delivers a measured performance. Abhinav Shukla as Ricky does the best he can with his limited character sketch. Mohit Madaan as Madame Khambatta’s driver is competent. Cricketer S Sreesanth who finds himself on a new pitch as Madame Khambatta’s lawyer scores in his debut outing on screen.

Director Ananth Narayan Mahadevan manages to steer the film’s narrative in the right direction, replete with intrigue in the first half. But the second half with its innumerable twists and turns intended to keep the viewers hooked doesn’t manage to do so. The climax is predictable and the narrative towards the end slackens with the inclusion of a song. Aksar 2 is a movie that begins well, but quickly crumbles to a point of no return.

THE LAST KEY INSIDIOUS movie download from tubemate

  THE LAST KEY INSIDIOUS movie download from tubemate

An origin tale of sorts, the fourth instalment in the Insidious series actually works as the first part of the horror franchise that leads us to Insidious (2010). It takes us back to the beginning, when gifted psychic Elise’s (Lin Shaye) troubled childhood gets back to haunt her.

REVIEW: Elise and her sidekicks (Leigh Whannell, Angus Sampson) are back to ghost-hunting but this time around the case is tricky. To help out a man who claims to feel the existence of a demon, Elise must visit her childhood house, where she faced physical and psychological assault at the hands of her own father. This rakes up her traumatic past and the demon she allegedly allowed to unleash as a child. How she tackles this harrowing situation forms the story.

Adam Robitel takes over from James Wan, one of the most successful horror filmmakers of today, who directed the previous two hit films and writer-actor Leigh Whannell, who directed the third, to give us this unexciting remake that fails to go beyond the tried and tested jump scares and vision of Wan. While the ‘further, red door and bodies acting as vessels for evil spirits’ managed to keep us hooked the first two times, it’s way too predictable the fourth time around. You also desperately miss the presence of Patrick Wilson and Rose Byrne, the faces of Insidious, and the drama they brought to the supernatural occurrences.

Lin Shaye, who has been a constant in all four instalments lends credibility to the series including this film but it’s about time, the makers either reinvent or end the series. That or get Wan back to helm the series as a director, when he isn’t focusing on the relatively superior Conjuring franchise and his upcoming big-ticket superhero film Aquaman.

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If you aren’t familiar with the Insidious films, you might find this lantern laden, modestly budgeted ghost-fest intriguing. But if you are a diehard fan of the genre and are looking for some spine-chilling thrills and a well-made horror mystery, please look ‘further’. The Last Key is more of a final nail in the coffin for the Insidious series. Of course it has its share of a few creepy moments, but it is undoubtedly the most clichéd and inconsequentially descriptive film of the lot. In the end, it simply exhausts you more than scaring the living daylights out of you and that isn’t a good sign.

KADVI HAWA MOVIE downlaod from vidmate

KADVI HAWA MOVIE downlaod from vidmate

In a village affected by climate change and scanty rainfall, a blind farmer strikes a deal with the debt recovery agent to save his son from a debt trap.


Gunu Baba (Ranvir Shorey) descends on the village of Mahua like the harbinger of death. As a loan recovery agent, whenever he goes to a village, he claims a few lives of the poor farmers as they commit suicide when they fail to pay back their loans. For this reason, they call him ‘Yamdoot’. A blind farmer Hedu (Sanjay Mishra) knows that his own son Mukund (Bhupesh Singh) owes a considerable amount to the lender. He can feel Mukund’s depression and helplessness and is scared that one day he, too, will take his own life. So he lands up at the bank and asks Gunu to waive-off the loan. But that’s like asking a lion to live off grass. However, one day, Hedu comes up with a plan wherein he tips-off Gunu whenever any of his fellow, debt-ridden farmers comes across some money. This way, Gunu will know just exactly whom to approach to clear his debt. This is a tough choice for Hedu to make; turning against his fellow villagers. But with his crop failing this year again, morals can be put on a hold for survival. In fact, he starts to give bigger tips when he senses his son is sinking further into depression. The question then is, how far will he go on with the scheming? Will the weight of the guilt ever get too heavy?

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Ranvir Shorey as a villain appears all too human when you understand just why he is choosing to do what he does. With a thick Odiya accent and a permanent scowl on his face, he carries of his role well. Sanjay Mishra, too, is effortless in his role of a blind, worldly-wise old man. This may be one of the best performances he has given, as he hops around on his stick thinking ways of getting his son out of the conundrum. With his dhoti and bedraggled look, just like the film’s poster, he blends into the landscape. What’s nice about the film is that filmmaker Nila Madhab Panda never tries to shove global warming in your face. He shows how, the changes happen gradually, like a failing crop. But the effects of it, like the loan a farmer takes, linger on.

The chemistry between Ranveer and Sanjay is darkly entertaining. You may even feel guilty while enjoying a moment of black humour in scenes between the two actors. With powerful dialogues by Nitin Dixit and achingly beautiful lyrics by Mukta Bhatt, the film is an engrossing watch. For a serious film on global warming, Kadvi Hawa is non-preachy and entirely watchable.

LADY BIRD MOVIE downlaod from tubemate

LADY BIRD MOVIE downlaod from tubemate

LADY BIRD  It’s evident that Greta Gerwig takes a lot of inspiration from her own life in ‘Lady Bird’. In her solo directorial debut based on her original screenplay, she draws from these experiences to make the film genuine and honest. There are familiar setups of the ‘coming-of-age’ genre – a classic one sees lead character Christine, who goes by the name Lady Bird, falling in love with a guy from school only to end up heartbroken when she catches him cheating on her. But the way the scenario plays out is far from typical. Just as life is full of surprises, Lady Bird gets to experience a lot of them along the way, taking us along for the ride.

The realism is hammered down through all the performances, mainly by Saoirse Ronan as Christine/ Lady Bird. Ronan captures the angst, confusion and determination of a teenager on a journey of self-discovery. She is perfectly cast as the temperamental, restless girl who begins to understand what it means to look beyond yourself. Lady Bird believes she is better off away from Sacramento, forgetting that her parents are financially struggling to make ends meet. This sets up the plot for a lot of friction with her mother, leading to the most prominent angle – the mother-daughter relationship. Even though the narrative revolves around Ronan, it’s Laurie Metcalf who often steals the show as Marion who is, in essence, the adult version of Lady Bird. Equally strong-willed to the point of being obstinate, Metcalf is hilarious, yet firm as a mother who pokes holes in her daughter’s self-obsessive bubble.

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Besides the two main characters, Gerwig infuses a lot of personality into all the supporting roles, making each one of them essential to the plot. Although they might seem to be forgetful, Gerwig ensures that their parts are not merely decorative, and far from stereotypical. The credit goes to her writing skills and ability to present a collection of memories from someone’s teenage years without being pretentious, or melodramatic for the sake of cheap laughs or tears. Just like the protagonist, ‘Lady Bird’ is awkwardly funny yet bittersweet, making it one of Hollywood’s most original and refreshingly honest films about growing up.

TERA INTEZAAR MOVIE downloa dfrom vidmate

 TERA INTEZAAR MOVIE downloa dfrom vidmate

 naturally gifted yet undiscovered painter and an art gallery owner have a torrid affair. Things go South when the gallery owner’s clients want to own the talented artists’ paintings against his will.

TERA INTEZAAR  On paper, 'Tera Intezaar' is a romantic-thriller. But on screen, it is an unintentional comedy of epic proportions. Veer Singh Rajput (Arbaaz Khan) is an insanely talented painter who paints the woman of his dreams over a four-day painting binge. She turns out to be Ronak (Sunny Leone) who is an art gallery owner. He bumps into her and shows her the painting; Convenience or serendipity, who can say? A song and a few making out scenes later, Ronak introduces Veer to her clients who turn out to be classical, money hungry wolves masquerading as humans which include Arena (Bhani Singh), Vikram (Arya Babbar), Bobby (Salil Ankola) and Janasheen. They decide to kill the golden egg laying hen and make away with the paintings. But things go awry in the process. With Veer missing, Ronak involves a clairvoyant (Sudha Chandran) to track her missing lover.

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A unique thing the filmmaker has done in the film is that he has taken logic and shot it square in the face with a heavy gauge gun. With that out of the way, we can proceed with our ‘supernatural thriller’, where anything goes. The four rogue clients find themselves being kidnapped by the paintings they came to steal and punished by an angry spirit in the most surreal, unexpected ways. Some get picked up by wines in a jungle while some are seen ejected out of a fast-moving sports car and some throw themselves off high cliffs. Suffice to say, there are a lot of special effects used in the film, too, like the kind we’ve seen in 'Jaani Dushman'. The difference is that 'Tera Intezaar' makes 'Jaani Dushman' look like Avatar.

With weak performances, forced VFX and a badly structured script, 'Tera Intezaar' is a film where you will be waiting desperately for the end credits to roll. To say it’s a long wait for that is no understatement.