Thursday, 24 April 2014

bhootnath return full movie

Download full movie

Bhoothnath Returns takes Bhoothnath's story forward. As he returns to 'Bhoot World' he is greeted with taunts and condemnation from other ghosts for bringing disrepute to the ghost-community for getting bullied by a kid on Earth. Files:Bhootnath Returns.mkv 747.MB Sample.mkv 2.22MB SCREENS 8.00 MB




Bhootnath Returns Songs mp3 free download

1 : Party To Banti Hai - Mika Singh, Meet Brothers & Anjjan        Download
2 : Har Har Gange - Aman Trikha    Download
3 : Party With Bhootnath - Yo Yo Honey Singh   Download 
4 : Sahib Nazar Rakhna - Rituraj   Download
5 : Dharavi Rap - Parth Bhalerao, Anish   Download

Party To Banti Hai Lyrics

Dhoom chik tak chik....
O humse na aise-waise akdo o ho!
Order janhit mein jaari re
Apni limit mein raho, o hello hello
Apni toh hai apni baari re (x2)

Little bit chatko
Jise diya woh latka
Famous hone lagi apni pagalpanthi re..
Party to.. Party to.. Party to..
Isi baat pe.. Party to banti hai
Arey party toh banti hai
Party to banti hai
Pa pa pa Party to banti hai
Woohoo...

Po! Po! Po!.. po po po po
Po! Po! Po!.. party apni jaari hai
Po! Po! Po!.. po po po po
Po! Po! Po!.. sab apni zimmedari hai (x2)

Hum hai king, humaare jaisa kaun hai
Rab hi toh, humaari toh backbone hai (x2)

Sabhi ko finger pe nachake
Humne baazi maari hai
Ready sheady hoke aaja
Jitne bhi nar-naari hai (x2)

Khushi mein aaj karni madpanthi re
Party to.. Party to.. Party to..
Isi baat pe..
Party to banti hai
Arey party toh banti hai
Party to banti hai
Pa pa pa Party to banti hai
Woohoo...

Unstoppable hai apna level
Sab karte khullam khulla na ki under the table
Tu raavan ka doot
Teri gandi hai kartoot
Baaton se tu samajh na paaye
Tu laato ka boot
Tere gande gande scam
Tera poora ho gaya time
Tere gande gande scam
Tera poora ho gaya time
Tujhse jyada guts hain,
Aaja door karun tere vahem
Teri khulegi pol
Izzat ke bajenge dhol
Face dikha na paayega
Jab honge exit poll

Po! Po! Po!.. po po po po
Po! Po! Po!.. party apni jaari hai
Po! Po! Po!.. po po po po
Po! Po! Po!.. sab apni zimmedari hai (x2)

Party to banti hai
Arey party toh banti hai
Party to banti hai
Pa pa pa Party to banti hai
Woohoo!

Har Har Gange Lyrics

Ae duniya paave pange
Phir bole har har gange (x4)

Ha.. ha.. Jhooth bolti to keh deti "kholo iski pol"
Chaaron taraf yehi chalta hai saari duniya gol
Apna raag hai, apni dafli, sabke apne dhol
Arey jisko dekho uske dil mein hai matlab ka hole

Ae duniya paave pange
Phir bole har har gange (x2)

Kam kar de saare mande
Phir bole har har gange
Aye duniya paave pange
Phir bole har har Gange

Bada tedha zamaana hai
Nai sunnda nai mannda
Jisey jo theek lagda hai
Wo manmauji wahi karda

Arey paise ke pahiye pe
Chalti saari rishtedaari
Oho paani mein petrol milake
Chalti hai ye gaadi
Tan ujle mann kaale inke
Sapne hain atrange

Ae duniya paave pange
Phir bole har har gange (x2)

Kam kar de saare mande
Phir bole har har gange
Aye duniya paave pange
Phir bole har har Gange

Karein baatein karodon ki
Nahin yeh fake lagde hain
Hai sab kuch loan pe phir bhi
Yeh up-to-date lagde hain
Arey khao piyo aish karo
Kaisi generation aayi
Arey upar ke paison pe sabki
Nazar yahaan hai bhai
Honesty ka path padhaaye
Luchche aur lafange

(Jis vyakti se aap sampark karna chaahte hain wo filhal uplabdh nahi hai)

Ae duniya paave pange
Phir bole har har gange (x2)

Kam kar de saare mande
Phir bole har har gange
Aye duniya paave pange
Phir bole har har Gange
Gange...

Party With The Bhoothnath Lyrics

Yo Yo: Ki hai sirji, main hune party karni si
Hun toh saari party, Saari after party band ho gayi hain
Big B: Oye yaar, main tainu
After party te after party le jaaonga
Yo Yo: Ess time?
Big B: Haan ji!
Yo Yo: O kitthe?
Big B: Tussi chalo, main dikhanda ha tuhaanu.


Don't waste your time, ab sun lo tum meri baat
Kahaan dhoondoge iss shehar mein club tum aadhi raat (x2)

Jab saari duniya so jaati hai
After party ho jaati hai
After party ke bhi after
Jo chale ye woh party hai (x2)

Come Party with The Bhoothnath, Relax man!
Come Party with The Bhoothnath, Relax man!
Come Party with The Bhoothnath, Relax man!
Now Party with The Bhoothnath, Relax man!

Jab saari duniya so jaati hai
After party ho jaati hai
After party ke bhi after
Jo chale ye woh party hai (x2)

Ittu pittu chi patandar
After party ghar ke andar
Ghar hai dekho bhoot waala
Tooti khidki, makdi ka jaala
Hey tonight, mujhko bas jaagna hai
Kat lo ghar ko, darpoko
Jisko bhaagna hai
Itte saalon se hum sab
Raat ko hi to sote hain
Abey aaj jaag lete hain
Abey bhoot thodi hote hain
Public bulaao, jisko naachna hai nachaao
Mere saath shart lagaao
Yeh.. yeh.. yeh karke dikhaao
Yeh.. phir yeh..
Ab yeh.. yeh.. ye karke dikhaao
Yeh karke dikhaao
Chalo yeh karke dikhaao

Don't waste your time, ab sun lo tum meri baat
Kahaan dhoondoge iss shehar mein club tum aadhi raat

Jab saari duniya so jaati hai
After party ho jaati hai
After party ke bhi after
Jo chale ye woh party hai (x2)

Come Party with The Bhootnath, Relax man!
Come Party with The Bhootnath, Relax man!
Come Party with The Bhootnath, Relax man!
Now Party with The Bhootnath, Relax man!

Music.. bajaate jaao
Daaru.. pilaate jaao
Haathon.. ko uthaate jaao
Aaj raat.. sabko nachaate jaao

Come Party with The Bhoothnath, Relax man!
Come Party with The Bhoothnath, Relax man!
Come Party with The Bhoothnath, Relax man!
Now Party with The Bhoothnath, Relax man!

Sahib Lyrics

Sahib nazar rakhna, Maula nazar rakhna
Sahib nazar rakhna, Maula nazar rakhna
Tera karam sabko mile, sabki fikar rakhna
Saahib nazar rakhna, Maula nazar rakhna

Naa aadmi ki aadmi jhele gulamiyan
Naa aadmi se aadmi maange salaamiyan
Jo fark paida ho rahe woh fark gark ho
Sabko barabar baant ye dharti ye aasmaan
Koi bhi na ho dard mein, sabki khabar rakhna
Sahib nazar rakhna, Maula nazar rakhna
Sahib nazar rakhna, Maula nazar rakhna

Sab sar utha ke chal sake, sabko ye bal mile
Koi kisi awaaz ko, daata kuchal na de
Yahan kaam bhi sabko mile, aaraam bhi sabko
Mehnat kare jo aadmi, mehnat ka phal mile
Har bol pe, har baat pe, apna asar rakhna
Sahib nazar rakhna, Maula nazar rakhna
Sahib nazar rakhna, Maula nazar rakhna
Maula... Maula...

Dharavi Rap Lyrics

Chal chashme par wiper daal
Kaan ka kaapus nikaal
Suna rela hai dastaan
This is Dharavi meri jaan

Phatela parda hai
Lower sole ka seat hai
Dharavi ka picture bheedu
Phir bhi superhit hai
Hit it...

Ye apun ka ilaaka
Full Bollywood dhamaaka
Ek fillam ka ticket mein
100 fillam ka majaa (x2)

Isme maa Meena Kumari hai
Aur baap ko unknown beemari hai
Bhai mister bechara hai
Aur siter misses kunwari hai
'Rok sako toh rok lo' ka morning raaga hai
Jagta hawaldar ko dekh ke, Milkha bhaaga hai

Romance kadak hai
Fight ke bhi scene hai
Idhar aamsu without glycerin
Balam pichkari hai (Yeah, Yeah..)
Ferrari ki sawaari hai (Yeah, Yeah..)
Thakur shaq ke ghere mein hai
Basanti ka pair bhaari hai

Ye apun ka ilaaka
Full Bollywood dhamaaka
Ek fillam ka ticket mein
100 fillam ka majaa (x2)

Yahaan Devdas ke 3 show daily hai
Ram jaane Ganga kab se maili hai
Tragedy ke saath comedy ka waada hai
Hero se villain ka role jyada hai

Teen guna lagaan (Yeah, Yeah..)
Jhuk gayaa aasmaan (Yeah, Yeah..)
Sabka ek hi .... (Yeah, Yeah..)
Main pareshan, pareshan, pareshan!

Ye apun ka ilaaka
Full Bollywood dhamaaka
Ek fillam ka ticket mein
100 fillam ka majaa (x2)

Aaau...
Chal Bheedu...
Aaau..

Wednesday, 22 January 2014

AASHIQUI 2 FULL MOVIES hd

AASHIQUI 2 FULL MOVIES




We need to create a new bank of stars and the youth of today, however much they may idolize the bigger stars, are always on the lookout for fresh faces and newer talent they can identify with. With AASHIQUI 2, this is just what the makers have done: thrown in fresh faces and given them an opportunity to make a mark for themselves. 

Apart from Shraddha Kapoor and Aditya Roy Kapur, it is Shaad Randhawa who leaves a deep imprint with his no-nonsense approach to his role of a manager to a fading singing sensation, who once saw better days. Icy cool and steely in his resolve to make things work for Rahul Jaykar (Aditya), Shaad adds that extra personal touch that tilts the scales against him. He is a certainly talent to look out for. Aditya Roy Kapur is a likeable bloke. You look hard for flaws but he measures up to the expectations of the makers. He is sincere in his portrayal as a singing star that has hit the bottle and is now on the wane. It's a surprise that he never once goes over the top. The only time he seems to be floundering is when the dialogues have no weight which leaves him wondering whether he said the right thing. In the very first scene, where he is to appear before a huge crowd at a concert in Goa, he is 'chilled out'. He carries a scene meant for a seasoned actor like a pro.
Shraddha Kapoor is a joy to watch. In just her third film, she reiterates that she is a talent to reckon with. She has the creative genes of both her parents; Shakti Kapoor and Shivangi Kolhapure. Whether struggling as a singer in a bar, or hitting the big time at a packed concert, she just rocks. Give her an emotional scene and she digs deep to leave her mark; a mild romantic track, and she is all bubbly and gooey eyed. A Kapoor to watch out for. Her feisty approach to her roles (right from TEEN PATTI) reminds me of Jodie Foster.

The story is a bit surprising. Rahul is this singer whose career-graph is on the wane. A few years ago, we are given to understand that he was a singing sensation. But why he hit the bottle with a vengeance is not explained. One would think that his love interest Aarohi (Sharaddha) would have been the reason for his alcoholic state and we would have been treated to a flashback. Surprisingly, and refreshingly, may I say, he meets Aarohi in one of his drunken stupor and she is not the reason for his state.

watch free sholay 3d full movies

watch free sholay 3d full movies





Cast: Dharmendra, Amitabh Bachchan, Amjad Khan, Sanjeev Kumar, Hema Malini, Jaya Bhaduri, A.K. Hangal, Sachin, Leela Mishra, Helen, Jalal Agha, Viju Khote, Jagdeep, Asrani, Mac Mohan, Sadhu Meher, Satyen Kappu
Director: Ramesh Sippy.
How do you review a film that’s been a legend for decades — three point eight, to be exact. For most film critics today, unlike the critics who panned the film when it was released, including the great Bikram Singh of Filmfare (he gave it two stars, a “fair” rating), reviewing 'Sholay' is an exercise in vanity. This is a Sippy-sent opportunity to bask in its glory once again, this time in three dimensions, and to pin our two-bits on a film that’s colossal, that’s way, way bigger than us.

Since I live in a red vanity case, I’m going to indulge.
'Sholay' symbolises all that was unique and brilliant about Bollywood in the 1970s. But it’s also the first among equals, and that line-up includes Raj Khosla’s 1971 'Mera Gaon Mera Desh', 'Sholay'’s precursor whose villain was called Jabbar Singh.
'Sholay' released on August 15, 1975, the first Independence Day India celebrated somberly because Emergency had just been imposed.
Pothas and blogs have since been written on the film, including a very fine book on its making by Anupama Chopra. Every little anecdote, factoid, tit-bit has added to making 'Sholay' the legend it is today.
* During the two-and-a-half years of its making, Jaya Bachchan, who plays the virginal child bride/widow Radha, gave birth to Shweta and got pregnant with Abhishek.
* During its shooting the strange real-life love triangle of Hema-Dharmendra-Sanjeev Kumar unravelled.
* Amjad Khan, to get a grip on his nine-scene role of Gabbar Singh, read Abhishapta Chambal, a book about the dacoits of Chambal by Taroon Kumar Bhaduri, Jaya’s father.
Usually I react to 3D films like I would to a proposed weekend with my in-laws on a remote island. I’d rather die. But in this 3D film the gimmicks department has been kept in control, and the stray bullet, splinter that comes charging at you is most welcome.
The film, as I watched it today, remains the classic it is. 'Sholay' is a masterstroke, a lovingly made film to which everyone brought their best. Every scene, even the smallest one, is perfect. Each frame is composed intelligently, and every performance — from the extras’ daku-log riding horses, especially in the train robbery sequence, to Thakur and his keel-waali jutti; from Asrani’s angrezon ke zamane ke jailor to Mausi’s rejection of the marriage proposal — is flawless.
Gabbar, Jai, Veeru, Basanti, Kalia and Ramlal have transcended cinema and are now almost mythological characters.
This perfection didn’t come easy. To get the expression, dialogue, timing just right, reams and reams of camera reel were sacrificed. Apparently, the scene of Radha lighting the lamp took 20 days to can; the shot for the dialogue “Kitne aadmi the?” took 40 retakes. There was no compromise. That’s why not a strand is out of place, not a second superfluous.
And then there’s the story. As a drunk Veeru shouts from the paani ki tanki, “...is istory mein emotion hai, drama hai, tragedy hai”. This revenge saga has one of Indian cinema’s most touching love stories, Jai and Radha’s. Add to that the love Jai had for Veeru.
The bond between the two handsome, young outlaws in denims, with their cocky fatalism — lanky Jai with his duffel bag and mouth-organ, and jolly Veeru with his tharra bottle and heart on sleeve — was so deep, their partnership so spirited that it deserved a song to itself.
Though billed as “the greatest story ever told” when it was released, writers Salim-Javed were accused of serving a mishmash of several spaghetti westerns with Bonnie and Clyde and Butch Cassidy and the Sundance Kid. Tru dat. Yet, the film’s performances, its brilliant camerawork, direction and dialogue are its own.
'Sholay' didn’t do well when it was released, but its dialogues were instant hits, especially the ones assigned to Gabbar Singh. This prompted the producers to release LP records of the film’s soundtrack — dialogues and songs with the sound effects.
In our house we had a cassette of 'Sholay'’s soundtrack that played on a loop. I can’t save you from bhoot-pishach by reciting the Hanuman Chalisa, but I can regale you with the soundtrack of 'Sholay', all 207 minutes of it, dialogue for dialogue, dhishum for dhishum, without pause or plunder.
'Sholay'’s dialogue are special because that are not limited to their context. Spiked with humour and falsafa, they are profound, metaphysical thoughts that can be used to beautifully articulate angst and distress in everyday situations. Sample a few:
  • Tumhara naam kya hai, Basanti?: Usually muttered under one’s breath on being impaled by a particularly verbose and banal so-and-so
  • Ek galti ki Thakur-saab, jo tijori khol ke dikha di: On spying a hot sister/brother of an acquaintance, or at an open invitation to a well-stocked farm house
  • Thakur ne hijron ki fauj banayi hai, ha ha ha: Though inappropriate, it is still used to describe a uniquely inefficient and clueless team in-charge of an event, call centre
  • Tera kya hoga, Kalia?: To a poor soul when an ex makes a sudden appearance in his/her love story or a senior arrives to take over a high-profile assignment
  • Chakki peesing and peesing and peesing...: The motto of all homemakers and plodders
  • Itna sannata kyun hai bhai?: This deeply sad line is in my opinion one up on the Joker’s “Why so serious?” It is absolutely superb and can be used, most appropriately, on arriving late to a rather dull party, or on entering Sheila Dikshit’s house
  • Chal Dhanno, aaj teri Basanti ki izzat ka sawal hai: Imploring a car to start flying because you are late for a crucial meeting; a bride to her slow-as-snail makeup lady; to a heavy file that’s taking forever to reach boss
  • Basanti in kutton ke saamne mat nachna: Kindly do not ingratiate thyself to lesser beings, for love or money
I plan to go watch 'Sholay' again tomorrow, to meet the coolest chors in Indian cinema, to genuflect at the genius of R.D. Burman and Ramesh Sippy, and to weep when Jai dies. Come with me, or go with your friends. I implore you not to miss this opportunity. I mean, how often will you see this credit-line on the big screen: “Introducing Amjad Khan”.


Tuesday, 24 December 2013

dhoom3 full movie

Dhoom 3


The film is set to roll out soon into other overseas markets, including Morocco, Maldives, Rwanda, Lebanon, Egypt, Germany, Peru, Romania, Japan, Russia, CIS, Turkey and others.
Writer-director Vijay Krishna Acharya’s story follows the exploits of a pair of Indian buddy cops (Abhishek Bachchan, Uday Chopra), although the main spotlight falls on superstar Aamir Khan(Lagaan, Talaash) in a flashy turn as Sahir, a modern acrobat and illusionist working in Chicago. He is joined by the seductive Aliya (actress Katrina Kaif).
One of Bollywood's biggest releases of the year, Dhoom 3, is closing out 2013 with a blast, living up to the meaning of its name in Hindi. The third installment of the high-octane action franchise from veteran Bollywood banner Yash Raj Films crossed the 1 billion rupee ($16.7 million) mark in India during its opening weekend following its Dec. 20 worldwide release. According to YRF, Dhoom 3 has grossed 1.07 billion rupees, said to be a new record for an opening weekend in India.
Internationally, Dhoom 3 cleared $10.17 million during its opening weekend, making it the biggest opening ever for any Bollywood film abroad. The film's total worldwide box office stands at $28.11 million, as per figures released late Monday by YRF. Given the film's timing during the holiday season and with no major competing film opening this week, Dhoom 3 is expected to maintain its strong run well into the new year.
In North America, the movie opened to a record-breaking $3.43 million from 236 theaters, making it the biggest opening of all time for a Bollywood title and coming in No. 9 for the weekend. In the U.K., Dhoom 3 collected $ 1.45 million, which YRF claims is the highest non-festival/holiday opening ever on a three-day weekend for a Bollywood title.
The film also set opening records for an Indian film in Australia, grossing $765,360.
Most notably, Dhoom 3 managed to release in Pakistan despite that country's recent ban against Indian films and TV content following a court order. In Pakistan, Dhoom 3 set a record for the highest opening ever for any film, with a gross of $630,500.
In the United Arab Emirates and other markets in the region, the film touched $2.8 million.
From the beginning, the "Dhoom" films have invited comparison to the "Fast & Furious" franchise, with John Abraham's charismatic villain/antihero in the first giving way to Hrithik Roshan's even more charismatic variation in the hugely successful sequel. One feature unique to the "Dhoom" series, though, most decidedly continued in the third and latest installment, is the ostensible heroes—tough cop Jai Dixit (Abhishek Bachchan), and his crook-turned-cop partner Ali Akbar (Uday Chopra)—being mentioned secondarily, if at all. In the first film, John Abraham was simply more interesting than they were, but over time, the series has evolved consciously into an exploration—between action sequences and songs—of the antihero as an archetype, with bigger and bigger stars cast. In "Dhoom: 2," it was Hrithik Roshan, and now, in "Dhoom: 3," no less a worthy than Aamir Khan.
Movie stars were originally called stars for the bright, glittery aspects of the heavenly bodies in question, but there's another quality that true stars, especially those of Aamir Khan's caliber possess, which is gravitational pull. "Dhoom: 3" doesn't attempt to resist this force in any way, with only the bare minimum of pretense that the "Dhoom" movies are Abhishek Bachchan/Uday Chopra buddy comedies anymore, putting the focus squarely on the story of Sahir Khan (played as a child by Siddharth Nigam and as an adult by Aamir Khan), a circus performer seeking revenge against Anderson (Andrew Bricknell), the cruel banker who ruined his father's life's work for no good reason.
Once Sahir reaches adulthood, he begins to systematically target branches of Anderson's bank, each time causing hundred dollar bills to rain from the sky, and escape using an array of skills, from sleight-of-hand to motorcycle racing. At each robbery, Sahir leaves a message in Hindi and a clown mask, which leads the Chicago police to bring in Jai and Ali so Jai can frown at things and Ali can flirt embarrassingly with the flower of Chicagoan womanhood. Jai initiates a game of cat-and-mouse with the master thief, thinking that his ego will lead him into a mistake out of pique, but Sahir effortlessly turns the tables on the police, turning them into unwitting allies.
The moment at which Jai realizes he's been had immediately precedes a game-changing (to put it mildly) twist, which shouldn't be spoiled. The second half of "Dhoom: 3" features a surprisingly adroit, if not terribly subtle, interrogation into the the morality of operating outside the law for a good cause. The movie stacks the deck a bit by having the banker be such a loathsome (and implicitly racist) bastard, but Aamir Khan and Abhishek Bachchan do a compelling job exploring the various moral and ethical colors involved in the cops-and-robbers game. Khan brings out the best in Bachchan as an actor, with his performance in "Dhoom: 3" finally shorn of the awkwardness and dullness into which his work in the first two movies all too often regressed. This, again, is a testament to the control Khan exerts over the movie: never heavy-handed, but absolute.
There isn't quite as much of Katrina Kaif as one would like in "Dhoom: 3," if one is partial to Katrina Kaif (I have to confess a complete lack of impartiality when it comes to Ms. Kaif, who is a sublime presence), with her role limited for the most part to two stunning song numbers, and something of a truncated romance subplot. There isn't a lot done with the movie's other featured female character, the Chicago policewoman with whom Jai, if the movie was concerned with its "heroes" at all, would likely have had a romantic subplot. As it stands, most of Australian actress Tabrett Bethell's screen time is spent laughing at Uday Chopra, whose antics are kept beneath the threshold where they might damage anything.
"Dhoom: 3" has—by far—the best action set pieces of the series. All the films borrow (to be generous) liberally from other movies, and "Dhoom: 3" picks some nifty sources, with everything from "The Blues Brothers" cop-car pile-ups to Christopher Nolan's "The Prestige" showing up for a salute, though the three main motorcycle set pieces are mounted with sufficient skill as to render them beyond complaints of stealing. If "Dhoom: 3" lacks anything beyond overlooking its women characters slightly, it's the feverish insanity that made "Dhoom: 2" such a delight. But these are small quibbles with what is otherwise an enormously satisfying blockbuster and a splendid continuation of the "Dhoom" franchise, which really is to an uncanny degree an exact dead ringer for a Bollywood "Fast & Furious" saga.