Watch Out of the Furnace 2013 online putlocker

Watch Out of the Furnace 2013 online putlocker
The easiest way to look at Out of the Furnace is as a bleak tale of revenge. To look a fraction deeper is to find commentary on the current state of the American economy, the treatment of returning soldiers from war and other bits of rather obvious socioeconomic themes. The film's third act is where Out of the Furanace will either lose or enrapture its audience. The question arises as to whether director and co-writer Scott Cooper (Crazy Heart) has abandoned everything he has built or if what we're watching is a product of those themes. I personally fall in the latter camp, but it took a while for me to get there.

In a lot of ways, Out of the Furnace has a narrative similar to that of samurai films. Here's a story of bad men living in the untamed New Jersey Ramapo Mountains, defying the law, dealing drugs and killing without punishment. The authorities know what's going on, but there is little they can (or are willing to) do about it. It isn't until one man's brother goes missing that someone finally decides to do take the law into his own hands
I can't entirely come to a decision as to Cooper's explicit intention with this narrative, but my interpretation of it is to say he's deftly brought to life a rather simple story and layered it with a multitude of themes that may seem simple on the surface, but contribute to an otherwise philosophically-complex story by the film's end.

It's no coincidence the film is set in Braddock, PA or that Christian Bale, playing Russell Baze, is a steel mill worker like his father before him, as he faces the likely possibility the mill will be shut down. It's also no coincidence Casey Affleck, playing Russell's brother Rodney, is finding it hard to acclimate himself after returning home from his fourth tour in Iraq. As obvious as they may be, these character details add to the film's overall dark tableau, and if you're willing to look beyond initial interpretations and the fact Cooper doesn't set out to explicitly use one theme or another to define the film's narrative trajectory, you'll realize they are more than just surface level cliches.

The story turns the corner as Rodney is struggling to find work and ultimately turns to gambling and underground fight clubs to turn a dollar, eventually leading him to a psychopathic nut job named Harlan DeGroat (Woody Harrelson). Harrelson is an embodiment of evil. He screams "Stay away!" He's the first person we meet at a drive-in screening of Midnight Meat Train (naturally) where he stuffs a hot dog down his date's throat, beats a man nearly to death and drives away as if he's the one that's been inconvenienced. Yeah, not a nice guy, and Harrelson knows how to play him.

Such are the performances throughout, Bale the quiet, reliable type that actually runs into his own issues with the law while Affleck never takes his character's PTSD to cliched levels. A lot about this film is handled with great subtlety and it's one of the story's finer aspects.

As much as the issues raised by the fact the story deals with a returning soldier, blue collar workers being laid off and the recession effecting job availability, Cooper never beats us over the head with these things. Yet, their importance to the story doesn't mean you should look at them as loose threads of an unfinished shirt as the story seemingly moves away from these issues.

In Out of the Furnace, Russell is a symbol of virtue and though he falls on hard times he still lives by an unspoken code, he accepts his transgressions, suffers for them and does what's right. He has a sense of duty to his family and those he loves and even manages to respect the woman he loves as fate determines they are not meant to share their lives together. If anything, this film seems determined to show us even the best of people can be broken if the world around them is collapsing, leaving nothing but hardened warriors to determine, protect and suffer for society's future.

As the film ends and fades to black over an image sure to inspire an array of interpretations (and possibly frustration), I have to assume many audience members will be split as to whether it's actually about anything or if it's simply a revenge thriller that comes apart at the end. I can understand these concerns. I've been wrestling with them myself in the process of writing this review and in conversation with others. However, when you begin to look at the course of action taken throughout the film and how Cooper relies on you to put the pieces together, I find it hard to deny the effect each and every element has on the overall outcome.

Whether driven by duty, love or any other reason, it would be hard to say Russell's decision to go looking for his brother despite police warnings and logical reasoning is a result of only one thing. The decisions we make and the paths we follow are as a result of a number of factors and ultimately Cooper's subtle presentation of this dark and disturbing tale may only be fully realized years from now, on subsequent viewings.

It's hard to actually come to any sort of final opinion on this movie as my own opinion seems to be evolving with every word. I do know I'll be returning to Out of the Furnace and not only for the great performances, cinematography (Masanobu Takayanagi) and that scene between Bale and Zoe Saldana on the bridge, but to see if it ages as I think it will.

Watch Out of the Furnace 2013 online streamig

Watch Out of the Furnace 2013 online streamig
The furnace of the title is literally the Carrie Furnace of Braddock, Penn., the real Rust Belt town where Cooper’s pic is set. But it is also the fire that burns inside Rodney Baze (Affleck), a native son of Braddock who opted out of mill life the only way he could, by joining the Army. There, he’s served three tours of duty in Iraq and is, when the movie begins, about to be “stop-lossed” into a fourth — and one need look no further than Affleck’s anguished gaze to know that Rodney has seen and done things that mark a man for the rest of his life. Rodney’s more straight-arrow brother, Russell (Bale), did go to work in the mill, like their father before him, and has one of the few remaining jobs there in lean economic times. The year is 2008 and the Obama election is playing out on TV, but for places like Braddock, the promise of “change” seems as empty as most of the storefronts along the main streets.

And for much of the first hour of “Out of the Furnace,” Cooper (who rewrote the script by Brad Inglesby) steeps us in the dead-end mood of the place: the off-track betting parlor where Rodney gambles away money borrowed from an avuncular barkeep and bookie (Willem Dafoe); the forlorn drive-in movie theater where a hair-trigger tweaker named Harlan DeGroat (Woody Harrelson) uncorks his rage on his unsuspecting girlfriend; and Carrie Furnace itself, blackening the Braddock skies in a permanent veil of soot. Shot “entirely and proudly” (per the end credits) on 35mm Kodak film by the cinematographer Masanobu Takayanagi (“The Grey,” “Silver Linings Playbook”), the images have an ashen pallor that calls to mind William Blake and his “dark Satanic mills.”

Things happen in “Out of the Furnace” with the violent, unpredictable force of life itself, rather than the reassuring rhythms of most screenplays. First, a late-night car accident lands Russell in jail on manslaughter charges, during which enough time passes for Rodney to take his fourth tour in Iraq, and for Russell’s girlfriend (Zoe Saldana) to leave him for the town sheriff (Forest Whitaker). The prison scenes carry their own brutal, unsparing power, and when Russell is finally released, Bale plays the moment remarkably, taking in a few deep breaths as if he were breathing air for the first time. These are the kind of small, character-revealing moments that Cooper, as he did in “Crazy Heart,” supplies in spades.

Affleck has a lean, prowling intensity here as the combat vet who, like the bomb-disposal ace paralyzed by the choices in a suburban supermarket in “The Hurt Locker,” cannot easily readjust to civilian life. So Rodney finds himself drawn into the local bare-knuckle fight scene, where the purses are low but the pain reliably numbing. And eventually he turns to Dafoe, asking for an introduction to DeGroat and the higher-stakes fights he runs in the deep backwoods of neighboring New Jersey — a decision that will come to bind all of these disparate characters in a cycle of tragedy and vengeance, a war at home to rival the one abroad.

Perhaps because he was originally an actor himself (“Gods and Generals,” “Get Low”), Cooper seems to make actors feel safe and willing to expose themselves in ways they ordinarily might not, and time and again he takes scenes to places of unexpected emotional power. Bale in particular has a series of strikingly fragile, tender moments here, forging an effortless brotherly bond with Affleck and playing a heartbreaking reunion scene with Saldana in which a lifetime of regrets and bad decisions seems to surge inside him. Harrelson is scarily effective as the movie’s hillbilly Walter White, precisely because he never descends into the lip-smacking movie villainy, always seeming — like all of the characters in “Out of the Furnace” — a product of his bleak environment. In their smaller roles, Dafoe, Whitaker and Sam Shepard (as the brothers’ grizzled uncle) all do sensitive, affecting, understated work.

But unlike many actor-directors, Cooper is an equally skilled visual storyteller, staging a SWAT team raid on DeGroat’s compound with an editorial sleight-of-hand borrowed from “The Silence of the Lambs” and always fostering a vivid sense of a place cut off from time and the world. When a character first mentions Jersey, it sounds as far away as Jerusalem. Superior work by production designer Therese DePrez (“American Splendor,” “Black Swan”) and costume designers Kurt & Bart (“Stoker”) adds to the lived-in milieu. Licensed for the first time for a movie soundtrack, Pearl Jam’s “Release” (in both its original and a newly re-recorded version) bookends the film with Eddie Vedder’s wailing, soulful refrain, while composer Dickon Hinchliffe (“Winter’s Bone”) provides the moody original score.

Watch Inside Llewyn Davis 2013 movie online megavideo

Watch Inside Llewyn Davis 2013 movie online megavideo

PLOT: In 1961 New York, a down-on-his-luck folksinger attempts to revive his dwindling career while saddled with a stray cat and the news he might be the father of his friend's wife.

REVIEW: Folksinger with a cat. Oscar Isaac's Llewyn Davis is described as such by an arrogant blowhard played by John Goodman at one point during INSIDE LLEWYN DAVIS because that is, in fact what he is when the two men's paths cross. That is all he is, actually, because Davis has little else going for him: his desire to continue following his passion and his uncharacteristic (if brief) need to protect a stray cat. We only know him for about a week of his life, but we can surmise that with Llewyn Davis the passion will always remain, but the protectiveness is an aberration, because as is the case with many deeply flawed characters created by writer-directors The Coen Brothers, he's equal parts cynic and romantic, at once nostalgic about his world and cognizant it can, and probably will, bite him on the back at any moment.

The Coen Brothers can do cynical in their sleep, but nailing the nostalgic part isn't always their specialty, but INSIDE LLEWYN DAVIS reveals itself to be the filmmakers' most sentimental and melancholic work, imbued with the haunted misery of its protagonist. It's also a touching tribute to the early 60s folk scene, with a thoroughly beautiful soundtrack produced by T Bone Burnett, who last collaborated with the Coens on O Brother, Where Art Thou? The Coens flawlessly recreate the mellow atmosphere of the Greenwich Village coffeehouses where struggling acts sought to make their art, with gorgeous cinematography by Bruno Delbonnel adding a barely perceptual ethereal glow to Davis' sad tale.
Davis is a self-described mess, having been that way since the suicide of his singing partner years prior. Trying to make it as a solo act is a tough feat, especially since despite his lovely voice he doesn't have the charisma or charm to make it alone in front of the crowd. And though he's determined to persevere, his failure has perhaps already destined, and the bitterness he displays indicates he already knows it. Isaac is splendid in the role, his big eyes hint at a hapless dreamer unprepared for the cruel world, yet at any moment Davis can conjure a snob's malice, striking out like a rattlesnake at the sincere people he encounters, like the kindly neighbor who deigns to sing along with one of his songs. Of course, he'll take a night or two on your couch if you can spare it; gratitude is not his forte, but his neediness knows no bounds.

The Coens' don't sugarcoat their lead nor the sad state of affairs he finds himself in, as can be expected, and this film won't please you optimists and true believers. The directors know better than anyone that happy endings rarely come to fruition, but more often than not they see the dark, dismal humor in life's way of screwing you over. Yet this is not misanthropic on the Coens' part, at least not in this instance: INSIDE LLEWYN DAVIS is a beautiful movie - it's just "beautiful" done the Coen Brothers way.

The events we witness during this particular week of Davis' life are at turns mundane and considerable. He loses a neighbor's cat and miraculously retrieves him in the middle of a crowded street, only to discover it's not the same cat. He gets a gig working alongside his friend Jim (Justin Timberlake) on a goofy novelty song, but he's also just found out that Jim's wife and musical partner Jean (Carey Mulligan) is pregnant and thinks the child is his (not that they're romantic at the moment; Jean's caustic attitude toward Llewyn borders on hatred). He finds the opportunity to travel to Chicago to perform for super producer Bud Grossman (F. Murray Abraham) but must travel there with a surly, drug-addicted musician (Goodman) and a mysterious, brooding young man (Garrett Hedlund); their extended trip reveals little about any of them and the experience is ultimately trivial. When Davis' big moment arrives and things appear as though they could turn around, the anticlimax is so very Coen Brothers, who have always excelled at culminating things on a sardonically meek note
But if Davis' journey is not exactly that of Ulysses', the Coens' ability to make every scene hum with a world-weary, deadpan humor enlivens his every encounter and defeat. Naturally, the brothers populate INSIDE LLEWYN DAVIS with wonderfully unique supporting characters and have cast the roles perfectly; it's not just the John Goodmans and Justin Timberlakes that resonate, but the Ethan Phillips' and Stark Sands'. It's feasible that no one casts a film as well as the Coens, who rarely, if ever, hit a false note with their performers. The side characters' moments are fittingly brief, as this is indeed the story of Llewyn Davis, but every face in the ensemble is the right one.

I'm prone to taking notes during screenings; I like to jot down descriptions of scenes and lines of dialogue, moments that strike me - it just helps with the impending review. I barely took any during INSIDE LLEWYN DAVIS, which is testament to how absorbing the film is. I wrote down a couple of things very early on, then stopped after jotting down "I love it already", which may have been around the 10 minute mark. Sometimes a movie simply has a captivating power, even if it's a subtle power, that transfixes you, enfolds you. INSIDE LLEWYN DAVIS is like that.

Watch Inside Llewyn Davis 2013 online free full movie

Watch Inside Llewyn Davis 2013 online free
In an alley behind a cafe in New York's Greenwich Village, an unidentified stranger knocks singer Llewyn Davis to his knees. Within the first 10 minutes of the Coen brothers' latest dark comedy, the filmmakers acquaint us with the curiously obscure, as violent fits are not usually associated with folk music.

The genesis of this animosity is left unanswered until the final moments of the film, leaving the lingering off-kilter question: Why would anyone beat up a folk singer? Thus, we have the perfect onset for this bleak and witty tale of a striving musician.

Here the Coen brothers pluck at the beatnik scene of the late 1950s and early 1960s. Helmed by long-time Coen collaborator T Bone Burnett, the tunes in this film — which are performed live — bare morbid undertones that correspond with the foremost concepts of the story: poverty, abortion, disappointment and death.

As the film opens, we are introduced to our guitar-strumming lead, Llewyn Davis, who is onstage in a smoke-filled dive. He is played to grungy, dark and handsome perfection by the stylish and calm Juilliard-trained Oscar Isaac. This marks the first time the Miami-bred Guatemalan-born 33-year-old has anchored a feature and he carries it off with infectious grace and grit. When he sings "Hang Me, Oh Hang Me" in these initial moments, we're both seduced and heartbroken.

But for his character, a deep tune isn't enough to win over an audience. He is struggling to make it as a solo artist after his bandmate committed suicide, and his dismal hymns fail to propel him out of dire straits. Unable to afford his own place, he crashes on the couches of friends around town. Yet he's determined to keep his guitar close by and not sell out.

It seems we'll have no problem feeling sorry for Llewyn. Only the fact that he's an egotistical jackass makes it impossible to feel solidly empathetic toward him. His tenacity is admirable, though painstakingly impractical, which his married lover, Jean, played by Carey Mulligan, never fails to point out. The motley actress, who also played Isaac's love interest in "Drive," is deliciously abrasive in this role as Llewyn's best friend's wife, who just might be carrying Llewyn's baby.

Unlike her glamorous turn as Daisy Buchanan in Baz Luhrmann's adaptation of "The Great Gatsby" earlier this year, here Mulligan is pared down in tame turtlenecks and blunt brown bangs. This practical look is the perfect contrast to her sassy tongue. Jean is disgusted with Llewyn's casual nature and lack of desire for the stable suburban lifestyle, yet she's attracted to his rough edges. Their back-and-forth dustups speed up the film's otherwise drowsy pace and offer the most intriguing, and hilarious, exchanges.

Justin Timberlake, as bearded musician Jim, who is married to Jean, has good comedic timing. He's convincingly quirky and naive, especially when he attempts to record a loony track about President Kennedy with a straight face. And "Girls" star Adam Driver, as the cowboy hat-wearing folk singer Al Cody, is a riot when adding absurd sound effects to Jim's soon-to-be hit.

Luck never seems to be on Llewyn's side. If he gains a couple of bucks, he quickly loses them. He's unable to nab a proper coat and boots in the freezing New York winter. And his sister has tossed the papers needed to return to the seaman's union, his backup plan. Isaac's masters every intricate expression, but disappointment is his grand mask.

When Llewyn hitches a ride to Chicago for a last-chance meeting with stoic music manager Bud Grossman (portrayed by the ever-magnetic F. Murray Abraham) he is told his music isn't sellable. His traveling companions, bizarre Southern jazz musician Roland Turner, played with raw perfection by Coen regular John Goodman and the aloof leather coat-wearing stud Johnny Five (a quiet, captivating Garrett Hedlund), turn out to be a headache when one almost overdoses on drugs and another is arrested.

Indeed, the film is a heavy downer and its consistent gray-hue enhances the bleakness. But the Coen brothers never fail to weave in bits of saucy irony, giving way for essential comical moments that bring everything full-circle.

Now back to that alley beat-down: Despite what Llewyn goes through, it becomes clear he deserved it.

Watch Out of the Furnace 2013 online free megashare

Watch Out of the Furnace 2013 online free
The easiest way to look at Out of the Furnace is as a bleak tale of revenge. To look a fraction deeper is to find commentary on the current state of the American economy, the treatment of returning soldiers from war and other bits of rather obvious socioeconomic themes. The film's third act is where Out of the Furanace will either lose or enrapture its audience. The question arises as to whether director and co-writer Scott Cooper (Crazy Heart) has abandoned everything he has built or if what we're watching is a product of those themes. I personally fall in the latter camp, but it took a while for me to get there.

In a lot of ways, Out of the Furnace has a narrative similar to that of samurai films. Here's a story of bad men living in the untamed New Jersey Ramapo Mountains, defying the law, dealing drugs and killing without punishment. The authorities know what's going on, but there is little they can (or are willing to) do about it. It isn't until one man's brother goes missing that someone finally decides to do take the law into his own hands
I can't entirely come to a decision as to Cooper's explicit intention with this narrative, but my interpretation of it is to say he's deftly brought to life a rather simple story and layered it with a multitude of themes that may seem simple on the surface, but contribute to an otherwise philosophically-complex story by the film's end.

It's no coincidence the film is set in Braddock, PA or that Christian Bale, playing Russell Baze, is a steel mill worker like his father before him, as he faces the likely possibility the mill will be shut down. It's also no coincidence Casey Affleck, playing Russell's brother Rodney, is finding it hard to acclimate himself after returning home from his fourth tour in Iraq. As obvious as they may be, these character details add to the film's overall dark tableau, and if you're willing to look beyond initial interpretations and the fact Cooper doesn't set out to explicitly use one theme or another to define the film's narrative trajectory, you'll realize they are more than just surface level cliches.

The story turns the corner as Rodney is struggling to find work and ultimately turns to gambling and underground fight clubs to turn a dollar, eventually leading him to a psychopathic nut job named Harlan DeGroat (Woody Harrelson). Harrelson is an embodiment of evil. He screams "Stay away!" He's the first person we meet at a drive-in screening of Midnight Meat Train (naturally) where he stuffs a hot dog down his date's throat, beats a man nearly to death and drives away as if he's the one that's been inconvenienced. Yeah, not a nice guy, and Harrelson knows how to play him.

Such are the performances throughout, Bale the quiet, reliable type that actually runs into his own issues with the law while Affleck never takes his character's PTSD to cliched levels. A lot about this film is handled with great subtlety and it's one of the story's finer aspects.

As much as the issues raised by the fact the story deals with a returning soldier, blue collar workers being laid off and the recession effecting job availability, Cooper never beats us over the head with these things. Yet, their importance to the story doesn't mean you should look at them as loose threads of an unfinished shirt as the story seemingly moves away from these issues.

In Out of the Furnace, Russell is a symbol of virtue and though he falls on hard times he still lives by an unspoken code, he accepts his transgressions, suffers for them and does what's right. He has a sense of duty to his family and those he loves and even manages to respect the woman he loves as fate determines they are not meant to share their lives together. If anything, this film seems determined to show us even the best of people can be broken if the world around them is collapsing, leaving nothing but hardened warriors to determine, protect and suffer for society's future.

As the film ends and fades to black over an image sure to inspire an array of interpretations (and possibly frustration), I have to assume many audience members will be split as to whether it's actually about anything or if it's simply a revenge thriller that comes apart at the end. I can understand these concerns. I've been wrestling with them myself in the process of writing this review and in conversation with others. However, when you begin to look at the course of action taken throughout the film and how Cooper relies on you to put the pieces together, I find it hard to deny the effect each and every element has on the overall outcome.

Whether driven by duty, love or any other reason, it would be hard to say Russell's decision to go looking for his brother despite police warnings and logical reasoning is a result of only one thing. The decisions we make and the paths we follow are as a result of a number of factors and ultimately Cooper's subtle presentation of this dark and disturbing tale may only be fully realized years from now, on subsequent viewings.

It's hard to actually come to any sort of final opinion on this movie as my own opinion seems to be evolving with every word. I do know I'll be returning to Out of the Furnace and not only for the great performances, cinematography (Masanobu Takayanagi) and that scene between Bale and Zoe Saldana on the bridge, but to see if it ages as I think it will.

Watch Inside Llewyn Davis 2013 full movie

Watch Inside Llewyn Davis 2013 full movie
In an alley behind a cafe in New York's Greenwich Village, an unidentified stranger knocks singer Llewyn Davis to his knees. Within the first 10 minutes of the Coen brothers' latest dark comedy, the filmmakers acquaint us with the curiously obscure, as violent fits are not usually associated with folk music.

The genesis of this animosity is left unanswered until the final moments of the film, leaving the lingering off-kilter question: Why would anyone beat up a folk singer? Thus, we have the perfect onset for this bleak and witty tale of a striving musician.

Here the Coen brothers pluck at the beatnik scene of the late 1950s and early 1960s. Helmed by long-time Coen collaborator T Bone Burnett, the tunes in this film — which are performed live — bare morbid undertones that correspond with the foremost concepts of the story: poverty, abortion, disappointment and death.

As the film opens, we are introduced to our guitar-strumming lead, Llewyn Davis, who is onstage in a smoke-filled dive. He is played to grungy, dark and handsome perfection by the stylish and calm Juilliard-trained Oscar Isaac. This marks the first time the Miami-bred Guatemalan-born 33-year-old has anchored a feature and he carries it off with infectious grace and grit. When he sings "Hang Me, Oh Hang Me" in these initial moments, we're both seduced and heartbroken.

But for his character, a deep tune isn't enough to win over an audience. He is struggling to make it as a solo artist after his bandmate committed suicide, and his dismal hymns fail to propel him out of dire straits. Unable to afford his own place, he crashes on the couches of friends around town. Yet he's determined to keep his guitar close by and not sell out.

It seems we'll have no problem feeling sorry for Llewyn. Only the fact that he's an egotistical jackass makes it impossible to feel solidly empathetic toward him. His tenacity is admirable, though painstakingly impractical, which his married lover, Jean, played by Carey Mulligan, never fails to point out. The motley actress, who also played Isaac's love interest in "Drive," is deliciously abrasive in this role as Llewyn's best friend's wife, who just might be carrying Llewyn's baby.

Unlike her glamorous turn as Daisy Buchanan in Baz Luhrmann's adaptation of "The Great Gatsby" earlier this year, here Mulligan is pared down in tame turtlenecks and blunt brown bangs. This practical look is the perfect contrast to her sassy tongue. Jean is disgusted with Llewyn's casual nature and lack of desire for the stable suburban lifestyle, yet she's attracted to his rough edges. Their back-and-forth dustups speed up the film's otherwise drowsy pace and offer the most intriguing, and hilarious, exchanges.

Justin Timberlake, as bearded musician Jim, who is married to Jean, has good comedic timing. He's convincingly quirky and naive, especially when he attempts to record a loony track about President Kennedy with a straight face. And "Girls" star Adam Driver, as the cowboy hat-wearing folk singer Al Cody, is a riot when adding absurd sound effects to Jim's soon-to-be hit.

Luck never seems to be on Llewyn's side. If he gains a couple of bucks, he quickly loses them. He's unable to nab a proper coat and boots in the freezing New York winter. And his sister has tossed the papers needed to return to the seaman's union, his backup plan. Isaac's masters every intricate expression, but disappointment is his grand mask.

When Llewyn hitches a ride to Chicago for a last-chance meeting with stoic music manager Bud Grossman (portrayed by the ever-magnetic F. Murray Abraham) he is told his music isn't sellable. His traveling companions, bizarre Southern jazz musician Roland Turner, played with raw perfection by Coen regular John Goodman and the aloof leather coat-wearing stud Johnny Five (a quiet, captivating Garrett Hedlund), turn out to be a headache when one almost overdoses on drugs and another is arrested.

Indeed, the film is a heavy downer and its consistent gray-hue enhances the bleakness. But the Coen brothers never fail to weave in bits of saucy irony, giving way for essential comical moments that bring everything full-circle.

Now back to that alley beat-down: Despite what Llewyn goes through, it becomes clear he deserved it.

Watch Bullett Raja 2013 online streamig

Watch Bullett Raja 2013 online streamig
The competition in the month of November for the top soundtracks is intense between the three music giants with Vishal-Shekhar producing ‘Gori Tere Pyaar Mein’, Pritam with ‘R… Rajkumar’ and Sajid-Wajid delivering ‘Bullett Raja’.

It has not been a great year for Sajid-Wajid with no hits from three big OSTs viz. ‘Himmatwala’ (2013), ‘Chashme Baddoor’ (2013) and ‘Ishkq In Paris’ (2013). The pressure on them to revive the magic of ‘Dabangg 2’ (2012) this year must put a lot of pressure on the duo with Tigmanshu Dhulia’s ‘Bullett Raja’ starring Saif Ali Khan and Sonakshi Sinha. This gangster action movie based in UP/West Bengal in India would have a crude street and village setting for its music which Sajid-Wajid are quite good at. A surprise for a movie with such a theme is the music of the UK-Canada based Punjabi boys RDB on one of the songs will be quite exciting to hear.
RDB open the album with Tamanche Pe Disco in the voices of Nindy Kaur and hubby Manj from RDB sets a really tone for the album with guns and trumpets blaring. This will be RDB’s first big Bollywood release since the passing of brother Kully who played a key role in the production of the music for the trio so this is a big comeback for the brothers… and they do it in style! The song has attitude and oomph with good beats and rap by Raftaar who has also penned the lyrics for the song. The arrangement is good and does well as the party number on the album. A big welcome back to RDB to the mainstream Bollywood stage where they rightly belong.

Saamne Hai Savera in the voice of Shreya Ghoshal with Wajid and Bonnie Chakraborty has a simple melody to it with the underlying currents of the typical Sajid-Wajid romantic compositions heard in the ‘Dabangg’ soundtracks which works well for them but also against them with lack to substantial creativity. They do add variance to the song with including some good violin & electric guitar solos and Bengali vocal solos. Lyrics by Kausar Munir are what really hold this song up giving it a lot of depth. A decently good romantic number to hum along to.

Neeraj Shridhar voices Jai Govinda Jai Gopala which is a tune that is totally designed for a Saif Ali Khan street execution. At points this song tries too hard to be too cool when it clearly lacks the funk. The composition is decent but lacks the instrumentation to make this is a fuller sound for a street party. The percussions are good on this track but the slow tempo kinda beats the purpose of the song. Lyrics by Shabbir Ahmed are good but quite average.

Mamta Sharma does the item number Don’t Touch My Body to the lyrics of Sandeep Nath. Her vocals are sexy and strong and thus perfect for the setting of the song and she does a fairly good job. The crudeness of the song comes out very well with the mix of her vocals with village instruments set against a synthetic beat. The lyrics complement the theme of the song and are totally senseless and so apt for the song. Good job by Sajid-Wajid in producing this song but it lacks commercial means for mass audiences and will only work well in UP and Bihar parts of India.

Wed 27th November 2013
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Music Review: ‘Bullett Raja’
by DJ Munks
18th November 2013 9:27 pm
@DJMunks munks@bizasialive.com

The competition in the month of November for the top soundtracks is intense between the three music giants with Vishal-Shekhar producing ‘Gori Tere Pyaar Mein’, Pritam with ‘R… Rajkumar’ and Sajid-Wajid delivering ‘Bullett Raja’.

It has not been a great year for Sajid-Wajid with no hits from three big OSTs viz. ‘Himmatwala’ (2013), ‘Chashme Baddoor’ (2013) and ‘Ishkq In Paris’ (2013). The pressure on them to revive the magic of ‘Dabangg 2’ (2012) this year must put a lot of pressure on the duo with Tigmanshu Dhulia’s ‘Bullett Raja’ starring Saif Ali Khan and Sonakshi Sinha. This gangster action movie based in UP/West Bengal in India would have a crude street and village setting for its music which Sajid-Wajid are quite good at. A surprise for a movie with such a theme is the music of the UK-Canada based Punjabi boys RDB on one of the songs will be quite exciting to hear.
Saif-Sonakshi in 'Bullett Raja'

Saif-Sonakshi in 'Bullett Raja'

RDB open the album with Tamanche Pe Disco in the voices of Nindy Kaur and hubby Manj from RDB sets a really tone for the album with guns and trumpets blaring. This will be RDB’s first big Bollywood release since the passing of brother Kully who played a key role in the production of the music for the trio so this is a big comeback for the brothers… and they do it in style! The song has attitude and oomph with good beats and rap by Raftaar who has also penned the lyrics for the song. The arrangement is good and does well as the party number on the album. A big welcome back to RDB to the mainstream Bollywood stage where they rightly belong.

Saamne Hai Savera in the voice of Shreya Ghoshal with Wajid and Bonnie Chakraborty has a simple melody to it with the underlying currents of the typical Sajid-Wajid romantic compositions heard in the ‘Dabangg’ soundtracks which works well for them but also against them with lack to substantial creativity. They do add variance to the song with including some good violin & electric guitar solos and Bengali vocal solos. Lyrics by Kausar Munir are what really hold this song up giving it a lot of depth. A decently good romantic number to hum along to.

Neeraj Shridhar voices Jai Govinda Jai Gopala which is a tune that is totally designed for a Saif Ali Khan street execution. At points this song tries too hard to be too cool when it clearly lacks the funk. The composition is decent but lacks the instrumentation to make this is a fuller sound for a street party. The percussions are good on this track but the slow tempo kinda beats the purpose of the song. Lyrics by Shabbir Ahmed are good but quite average.

Mamta Sharma does the item number Don’t Touch My Body to the lyrics of Sandeep Nath. Her vocals are sexy and strong and thus perfect for the setting of the song and she does a fairly good job. The crudeness of the song comes out very well with the mix of her vocals with village instruments set against a synthetic beat. The lyrics complement the theme of the song and are totally senseless and so apt for the song. Good job by Sajid-Wajid in producing this song but it lacks commercial means for mass audiences and will only work well in UP and Bihar parts of India.
Saif Ali Khan perfect for 'Bullett Raja' says Tigmanshu Dhulia

Saif Ali Khan in 'Bullett Raja'

Title song Bullett Raja in the voice of Wajid and Keerthi Sagathia is a much better song for the crude village setting with more personality and funk to it. Wajid is at his best with songs like this and Sajid produces the music perfectly to match his style with dhols and trumpets. The arrangement of the instruments with its twists & turns and highs & lows is really cool along with good solos. Kausar Munir also does a great job with the lyrics giving the character a superlative status for each scenario. This is definitely a song that will hit the commercial scene next after Tamanche Pe Disco from this OST.

Satake Thoko with Wajid, Keerthi Sagathia and Danish Sabri doing the vocals again is yet another village song that is more up-tempo compared to the last song but misses the mark as fitting anywhere as an item number or a headline character song. The composition is not too strong neither are the lyrics by Sandeep Nath. With multiple characters in this song its purpose is very situational for a particular scene in the movie and will not be able to stand tall as a song in itself.

Jai Govinda Jai Gopala (Remix) is an attempt to revive this song and get it to find its feet in the party circuit… and to a certain extent it does manage to do that with a weak original. A decently good mix to a Miami beach techno beat style for the likes of Pitbull.

Watch Bullett Raja 2013 online free

The most entertaining songs in Bullett Raja are Tamanchey Pe Disco, Jai Govinda Jai Gopala and Saamne Hai Savera says Joginder Tuteja.

One has decent expectations of the music of the film Bullett Raja, considering the fact that Saif Ali Khan and Sonakshi Sinha feature in the film.

However, since Tigmanshu Dhulia’s films aren’t really known for their music, and the genre of the film restricts a notable soundtrack, one is prepared for the kind of music that acts as a filler.

Sajid-Wajid are the composers with RDB coming up with a guest song. Sandeep Nath, Kausar Munir, Shabbir Ahmed and Raftaar are the lyricists for six numbers in the album.

The album Bullett Raja begins with the speed of a bullet, courtesy Tamanchey Pe Disco, a characteristic rendition by Nindy Kaur.

Though one expects RDB, Nindy Kaur and Raftaar to present a song that has a Punjabi base to it, the team reinvents itself with a tune that has a UP-Bihar flavour to it.

A fast-paced number that moves relentlessly, one’s only regret is that it lasts a mere two minutes.

Sajid-Wajid’s composition Saamne Hai Savera begins in a way that reminds one of Chori Kiya (from Dabangg).

The manner in which Shreya Ghoshal renders the number with Wajid joining her, also reminds one of the romantic numbers that Sajid-Wajid have composed for Salman Khan films.

Easy on the ears, it makes one wonder, though, whether it will fit into the setting and milieu of Bullett Raja, which is a fast paced movie. Meanwhile, the interspersing portions are filled by Bonnie Chakraborty who takes a folk route.

There is a fun element in Neeraj Sridhar’s Jai Govinda Jai Gopala. It could be a hit if promoted well. It could well be the next Hare Krishna Hare Raam (Bhool Bhualiyaa). With some good beats to it and a pace that compliments the kind of flavour that a song belonging to this genre warrants, it rightly appears in a 'remix version', which is a good add on.

However this good work is negated by Mamta Sharma's Don't Touch My Body. The makers may argue that the song is meant for the front benchers in the cow belt, but considering this is a Saif Ali Khan film and one is primarily looking at the multiplex audience, a song like Don't Touch My Body is a strict no-no.

Average lyrics coupled with a forgettable tune further bring the song down. One wonders if Mahie Gill, who has made a guest appearance as an item girl in this song, would be able to save it.

The title song Bullett Raja makes a belated appearance, with Wajid bringing himself on board for yet another number that has its base in the cow belt.

With support from Keerthi Sagathia, the number has a good hook to it and should do well in the narrative. In fact it would be interesting to see how Saif approaches this number.

Satake Thoko undoes the overall effort. A situational number that gets back to the Bhojouri scheme of things, it has Wajid and Keerthi Sagathia joined by Danish Sabri behind the mike. It may just seem entertaining with the picturisation, but as a standalone number, it’s not worth hearing again.

Bullett Raja, the album, is a mixed bag which does well when the mood is more contemporary.

Eventually, the songs that entertain are Tamanchey Pe Disco, Jai Govinda Jai Gopala and Saamne Hai Savera.

Watch Bullett Raja 2013 online streamig

Watch Bullett Raja 2013 online streamig
The competition in the month of November for the top soundtracks is intense between the three music giants with Vishal-Shekhar producing ‘Gori Tere Pyaar Mein’, Pritam with ‘R… Rajkumar’ and Sajid-Wajid delivering ‘Bullett Raja’.

It has not been a great year for Sajid-Wajid with no hits from three big OSTs viz. ‘Himmatwala’ (2013), ‘Chashme Baddoor’ (2013) and ‘Ishkq In Paris’ (2013). The pressure on them to revive the magic of ‘Dabangg 2’ (2012) this year must put a lot of pressure on the duo with Tigmanshu Dhulia’s ‘Bullett Raja’ starring Saif Ali Khan and Sonakshi Sinha. This gangster action movie based in UP/West Bengal in India would have a crude street and village setting for its music which Sajid-Wajid are quite good at. A surprise for a movie with such a theme is the music of the UK-Canada based Punjabi boys RDB on one of the songs will be quite exciting to hear.
RDB open the album with Tamanche Pe Disco in the voices of Nindy Kaur and hubby Manj from RDB sets a really tone for the album with guns and trumpets blaring. This will be RDB’s first big Bollywood release since the passing of brother Kully who played a key role in the production of the music for the trio so this is a big comeback for the brothers… and they do it in style! The song has attitude and oomph with good beats and rap by Raftaar who has also penned the lyrics for the song. The arrangement is good and does well as the party number on the album. A big welcome back to RDB to the mainstream Bollywood stage where they rightly belong.

Saamne Hai Savera in the voice of Shreya Ghoshal with Wajid and Bonnie Chakraborty has a simple melody to it with the underlying currents of the typical Sajid-Wajid romantic compositions heard in the ‘Dabangg’ soundtracks which works well for them but also against them with lack to substantial creativity. They do add variance to the song with including some good violin & electric guitar solos and Bengali vocal solos. Lyrics by Kausar Munir are what really hold this song up giving it a lot of depth. A decently good romantic number to hum along to.

Neeraj Shridhar voices Jai Govinda Jai Gopala which is a tune that is totally designed for a Saif Ali Khan street execution. At points this song tries too hard to be too cool when it clearly lacks the funk. The composition is decent but lacks the instrumentation to make this is a fuller sound for a street party. The percussions are good on this track but the slow tempo kinda beats the purpose of the song. Lyrics by Shabbir Ahmed are good but quite average.

Mamta Sharma does the item number Don’t Touch My Body to the lyrics of Sandeep Nath. Her vocals are sexy and strong and thus perfect for the setting of the song and she does a fairly good job. The crudeness of the song comes out very well with the mix of her vocals with village instruments set against a synthetic beat. The lyrics complement the theme of the song and are totally senseless and so apt for the song. Good job by Sajid-Wajid in producing this song but it lacks commercial means for mass audiences and will only work well in UP and Bihar parts of India.

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Music Review: ‘Bullett Raja’
by DJ Munks
18th November 2013 9:27 pm
@DJMunks munks@bizasialive.com

The competition in the month of November for the top soundtracks is intense between the three music giants with Vishal-Shekhar producing ‘Gori Tere Pyaar Mein’, Pritam with ‘R… Rajkumar’ and Sajid-Wajid delivering ‘Bullett Raja’.

It has not been a great year for Sajid-Wajid with no hits from three big OSTs viz. ‘Himmatwala’ (2013), ‘Chashme Baddoor’ (2013) and ‘Ishkq In Paris’ (2013). The pressure on them to revive the magic of ‘Dabangg 2’ (2012) this year must put a lot of pressure on the duo with Tigmanshu Dhulia’s ‘Bullett Raja’ starring Saif Ali Khan and Sonakshi Sinha. This gangster action movie based in UP/West Bengal in India would have a crude street and village setting for its music which Sajid-Wajid are quite good at. A surprise for a movie with such a theme is the music of the UK-Canada based Punjabi boys RDB on one of the songs will be quite exciting to hear.
Saif-Sonakshi in 'Bullett Raja'

Saif-Sonakshi in 'Bullett Raja'

RDB open the album with Tamanche Pe Disco in the voices of Nindy Kaur and hubby Manj from RDB sets a really tone for the album with guns and trumpets blaring. This will be RDB’s first big Bollywood release since the passing of brother Kully who played a key role in the production of the music for the trio so this is a big comeback for the brothers… and they do it in style! The song has attitude and oomph with good beats and rap by Raftaar who has also penned the lyrics for the song. The arrangement is good and does well as the party number on the album. A big welcome back to RDB to the mainstream Bollywood stage where they rightly belong.

Saamne Hai Savera in the voice of Shreya Ghoshal with Wajid and Bonnie Chakraborty has a simple melody to it with the underlying currents of the typical Sajid-Wajid romantic compositions heard in the ‘Dabangg’ soundtracks which works well for them but also against them with lack to substantial creativity. They do add variance to the song with including some good violin & electric guitar solos and Bengali vocal solos. Lyrics by Kausar Munir are what really hold this song up giving it a lot of depth. A decently good romantic number to hum along to.

Neeraj Shridhar voices Jai Govinda Jai Gopala which is a tune that is totally designed for a Saif Ali Khan street execution. At points this song tries too hard to be too cool when it clearly lacks the funk. The composition is decent but lacks the instrumentation to make this is a fuller sound for a street party. The percussions are good on this track but the slow tempo kinda beats the purpose of the song. Lyrics by Shabbir Ahmed are good but quite average.

Mamta Sharma does the item number Don’t Touch My Body to the lyrics of Sandeep Nath. Her vocals are sexy and strong and thus perfect for the setting of the song and she does a fairly good job. The crudeness of the song comes out very well with the mix of her vocals with village instruments set against a synthetic beat. The lyrics complement the theme of the song and are totally senseless and so apt for the song. Good job by Sajid-Wajid in producing this song but it lacks commercial means for mass audiences and will only work well in UP and Bihar parts of India.
Saif Ali Khan perfect for 'Bullett Raja' says Tigmanshu Dhulia

Saif Ali Khan in 'Bullett Raja'

Title song Bullett Raja in the voice of Wajid and Keerthi Sagathia is a much better song for the crude village setting with more personality and funk to it. Wajid is at his best with songs like this and Sajid produces the music perfectly to match his style with dhols and trumpets. The arrangement of the instruments with its twists & turns and highs & lows is really cool along with good solos. Kausar Munir also does a great job with the lyrics giving the character a superlative status for each scenario. This is definitely a song that will hit the commercial scene next after Tamanche Pe Disco from this OST.

Satake Thoko with Wajid, Keerthi Sagathia and Danish Sabri doing the vocals again is yet another village song that is more up-tempo compared to the last song but misses the mark as fitting anywhere as an item number or a headline character song. The composition is not too strong neither are the lyrics by Sandeep Nath. With multiple characters in this song its purpose is very situational for a particular scene in the movie and will not be able to stand tall as a song in itself.

Jai Govinda Jai Gopala (Remix) is an attempt to revive this song and get it to find its feet in the party circuit… and to a certain extent it does manage to do that with a weak original. A decently good mix to a Miami beach techno beat style for the likes of Pitbull.

Watch Bullett Raja 2013 online free

Watch Bullett Raja 2013 online free
The most entertaining songs in Bullett Raja are Tamanchey Pe Disco, Jai Govinda Jai Gopala and Saamne Hai Savera says Joginder Tuteja.

One has decent expectations of the music of the film Bullett Raja, considering the fact that Saif Ali Khan and Sonakshi Sinha feature in the film.

However, since Tigmanshu Dhulia’s films aren’t really known for their music, and the genre of the film restricts a notable soundtrack, one is prepared for the kind of music that acts as a filler.

Sajid-Wajid are the composers with RDB coming up with a guest song. Sandeep Nath, Kausar Munir, Shabbir Ahmed and Raftaar are the lyricists for six numbers in the album.

The album Bullett Raja begins with the speed of a bullet, courtesy Tamanchey Pe Disco, a characteristic rendition by Nindy Kaur.

Though one expects RDB, Nindy Kaur and Raftaar to present a song that has a Punjabi base to it, the team reinvents itself with a tune that has a UP-Bihar flavour to it.

A fast-paced number that moves relentlessly, one’s only regret is that it lasts a mere two minutes.

Sajid-Wajid’s composition Saamne Hai Savera begins in a way that reminds one of Chori Kiya (from Dabangg).

The manner in which Shreya Ghoshal renders the number with Wajid joining her, also reminds one of the romantic numbers that Sajid-Wajid have composed for Salman Khan films.

Easy on the ears, it makes one wonder, though, whether it will fit into the setting and milieu of Bullett Raja, which is a fast paced movie. Meanwhile, the interspersing portions are filled by Bonnie Chakraborty who takes a folk route.

There is a fun element in Neeraj Sridhar’s Jai Govinda Jai Gopala. It could be a hit if promoted well. It could well be the next Hare Krishna Hare Raam (Bhool Bhualiyaa). With some good beats to it and a pace that compliments the kind of flavour that a song belonging to this genre warrants, it rightly appears in a 'remix version', which is a good add on.

However this good work is negated by Mamta Sharma's Don't Touch My Body. The makers may argue that the song is meant for the front benchers in the cow belt, but considering this is a Saif Ali Khan film and one is primarily looking at the multiplex audience, a song like Don't Touch My Body is a strict no-no.

Average lyrics coupled with a forgettable tune further bring the song down. One wonders if Mahie Gill, who has made a guest appearance as an item girl in this song, would be able to save it.

The title song Bullett Raja makes a belated appearance, with Wajid bringing himself on board for yet another number that has its base in the cow belt.

With support from Keerthi Sagathia, the number has a good hook to it and should do well in the narrative. In fact it would be interesting to see how Saif approaches this number.

Satake Thoko undoes the overall effort. A situational number that gets back to the Bhojouri scheme of things, it has Wajid and Keerthi Sagathia joined by Danish Sabri behind the mike. It may just seem entertaining with the picturisation, but as a standalone number, it’s not worth hearing again.

Bullett Raja, the album, is a mixed bag which does well when the mood is more contemporary.

Eventually, the songs that entertain are Tamanchey Pe Disco, Jai Govinda Jai Gopala and Saamne Hai Savera.