Watch Movies Online: Latest Movies . Arrangements are being made for her marriage. Arundhati is the first female to be born since her great great grandmother and is especially revered in the family.

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Her grandfather, the head of the family, talks to her with respect as if she were older than him. She receives a misleading phone call in her fiance Rahul's voice asking her to come to the fort of Gadwal, where she faces a horrible revelation.

Learning the story from an aged servant maid, Chandramma, Arundhati comes to know that she is a look alike of her great- grandmother Jejjamma. Jejjama is an expert in painting, dancing and martial arts. Her elder sister is married to her cousin Pasupathi. Pasupathi, a womanizer, rapes the women he likes and kills those who object. While Jejjama was still a young girl, he raped and killed her blind dance teacher while a horrified Jejjama watched through the peephole. Jejjama, furious, demands that he be killed but the King tells her that this would ruin her sister's life. Hearing this, Jejjamma's sister commits suicide.

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The people of Gadwal furiously thrash Pasupathi and tie him to his horse. Though Gadwal celebrates his death, he is saved by Aghoras. Pasupathi masters the Tantric arts and returns to Gadwal many years later to exact his revenge. He unleashes carnage as he uses his powers to torture innocent people something the Aghoras don't do. He arrives on Jejjama's marriage day and magically starts removing her clothes but Jejjama seduces him and performs a special dance imbued with martial arts to lull Pasupathi. She then cuts off his tongue and pins his hands, allowing a chandalier to fall on his body.

She spares him from being killed to prevent him from becoming a 'pretatma'. Pasupathi is buried alive in a tomb and powerful 'yantras' are put on it to prevent him from coming out. Jejjama goes to the Aghories for help. They say she cannot kill Pasupathi now; she must be reborn again. She sacrifices her own life and before she dies, tells her son that she will be reborn as the first daughter in the family.

This is the reason that Arundhathi's grandfather always treats her with respect. The queen dies and her relics are fashioned into a dagger, the one weapon that could destroy Pasupathi forever. A worker in a trance unknowingly breaks the tomb and releases the 'pretatma'. Anwar who treats patients through sorcery tells her asks her to fight Pasupathi. Arundhati comes to know that her great- grandmother had prepared a 'weapon' with her own bones and had kept it with the sages. Pasupathi stabs Arundhati and she goes to Anwar's palace after recovering. While they procure the weapon, Anwar falls off a cliff.

Arundhati, believing that Anwar is dead, returns to the fort to surrender herself to Pasupathi to prevent the death of her family members. Anwar, who survives the fall, hands the weapon to Arundhati. The weapon has to be soaked in Arundhathi's blood before it can be used. Before Anwar can tell her this, Pasupathi kills him. As a last resort to save herself, Arundhati tries to kill herself with the same weapon.

The dagger glows from her blood showing that Jejjamma had come. She kills Pasupathi and the building sets fire and blasts. Then Arundhati is shown walking out of the place as Jejjamma.

The 1. 00 best films of the decade (so far), #2. Cult Sci Fi Movies Christmas Eve (2015). Now we’re past the halfway point of The A. V. Club’s half- decade film survey. Yesterday, we introduced the first 5. Today, we’ll be taking a look at numbers 5.

The final part of the list, which includes our 2. Even the most devoted fans of giallo, that Italian genre of rampaging killers and intrepid detectives, would probably concede that nobody loves these movies for their stories. Who hasn’t watched, say, Suspiria, and secretly felt the urge to just fast- forward from one amazing set piece to another? With Amer, two French directors, H. Their tribute to the Mario Bava school of horror is nothing but set pieces. There’s the barest impression of a plot here, a young girl’s coming of age told in three parts, but it’s just an excuse to constantly indulge in the kind of virtuosic showboating—the jutting and leering camerawork, the harsh pools of primary color, the fetishistic close- ups of blades and retinas—that most movies of this sort relegate to isolated pockets of running time. Close to wordless and borderline abstract, Amer purifies giallo of its superfluous elements, leaving behind only uncut awesome.

They dig into genre clich. The World’s End may be Wright, Pegg, and Frost’s finest hour; it’s certainly their darkest, even more so than the movie that features multiple characters killed by zombies. Pegg’s Gary is a rowdy comic hero gone to seed, more sad alcoholic than beloved party animal, who drags his former school chums into completing a pub crawl, only to find out their hometown is ground zero for an alien assimilation.

The World’s End doesn’t spoof Invasion Of The Body Snatchers so much as reconcile it with a coming of age that may, in fact, be coming too late. With the likes of Show Me Love(1. Lilya 4- Ever(2. 00. Moodysson treated the lives of adolescent women as serious subject matter, not just the terrain of pink- hued stories about sleepovers and first kisses. We Are The Best! Casting unknowns Mira Barkhammar, Mira Grosin, and Liv Le. Bollywood Thriller Movies Victoria (2015) here.

Moyne as the trio, the film at times takes on an uncanny realism—not that surprising, given the script was based on a biographical graphic novel by Coco Moodysson, the filmmaker’s wife. Never condescending, We Are The Best! You know, punk stuff. From Platform (2. The World(2. 00. 4) to 2.

City(2. 00. 8), Jia has been exploring the impact of modern capitalism on the people of China. While the director’s films are often described as lyrical (and they are), A Touch Of Sin dispels with any softness, ruthlessly exposing the violence of multi- national industry, wage labor, and the pursuit of commodities through four ripped- from- the- headlines stories. Toying with genre (especially that of wuxia), A Touch Of Sin is far less subtle in style than Jia’s other films, but that just makes its message all the more powerful.

Clubfirst described Shane Carruth’s years- in- the- making film as a “transcendent experience,” and for good reason: It’s a stunningly original vision, the kind of movie that seems destined to be deconstructed by film- school grads and coffeehouse obsessives for decades. It’s got a controversial reputation—plenty are more perplexed than entranced by it—but the film is so evocative, and so startlingly beautiful, that criticisms about coherence are almost beside the point. In earlier films, characters in magic realist circumstances ran, perched, and made their home, Robin Hood- like, in the woods. More sober, set in the recognizable real world, and building to an excruciatingly suspenseful finale, this cruising- in- the- woods drama draws Franck (Pierre Deladonchamps) closer to good- looking Michel (Christophe Paou).

Franck’s attraction makes him toy with the idea of overlooking a murder he sees Michel commit, but then a police detective (J. In observing the uneasy interactions between a mecca for gay men where everyone’s on the same page and the straight officer of the law sent to regulate them, Stranger adds a dimension of political allegory to its arrestingly composed images of relaxed lust and conflicted passions. Stray cats wander a hotel, a shy nerd gets propositioned by swingers, and unnerving tales of artificial intelligence are told, all of it combining to form a crazy- quilt exploration of the digital- analog divide. Bujalski plumbs the past to shed light on the present, with ample affection and eccentricity.

He also puts to rest the notion that eloquently inarticulate young people are his sole purview. That’s the question posed by Julia Loktev’s magnificent three- hander, in which a pair of blissfully happy, engaged hikers (Hani Furstenberg and Gael Garc. The film covers emotional terrain not unlike that explored by one of last year’s most acclaimed movies (see a few slots below), but Loktev boldly chooses to have her characters avoid discussing what happened at all, in part because they’re always accompanied by their guide (Bidzina Gujabidze). It’s a bifurcated narrative in which the second part, especially, relies almost entirely on body language to convey an assload of pure feeling. In Martin Scorsese’s spiritual successor The Wolf Of Wall Street, stock trader Jordan Belfort (Leonardo Di. Caprio) tries to do the same, and sometimes succeeds.

More often, though, he interrupts himself to say that the process is boring and doesn’t really matter. He talks a little about business, but Belfort is really narrating his own excess and bravado—perfect for an industry that doesn’t do much of anything except make money into more money. As with his gangster characters, Scorsese seems both fascinated and sickened by Belfort’s appetites and exploits, and Di. Caprio’s go- for- broke comic performance—an evil twin to his charming Jay Gatsby from earlier that same year—serves this duality perfectly. Scorsese and longtime editor Thelma Schoonmaker do an expert job cutting together a three- hour marathon of more, more, more. Only when the ride stops does the appropriate exhaustion set in.

Yet isn’t there a bigger hint of Hitchcock in his choice of projects, the “disreputable” material to which he applies his immense talent? For all its Eyes Wide Shut echoes, last year’s Gone Girl is further proof that Fincher chiefly fancies himself an entertainer. And entertain he does, twisting a bestselling beach read into another of his sinister, atmospheric procedurals. Not that this is a solo victory: Novelist- turned- screenwriter Gillian Flynn locates the black- comic essence of her own story, a missing- person mystery that becomes an investigation into a tumultuous marriage.

Blessed with a dream cast and the memorable throb of another Trent Reznor score, Gone Girl takes “low” art to dizzying new heights. In Hitchcock parlance, it’s a slice of cake with a sour aftertaste. Johannes Kuhnke gives a captivating comedic performance as a father grasping at the last vestiges of his manliness and self- worth, while Lisa Loven Kongsli is devastating (and equally hilarious) as the mother, struggling to cope with everything that once came so easily. Their children are casualties of the slow- motion implosion and, refreshingly, react like real kids: scared, sad, and mostly confused. Unlike the inciting avalanche, the family feud is not contained, sending rifts through friends and fellow tourists alike. Those fissures also reach the viewer: Force Majeure breezes by with laughs, but can knock the wind out of the unsuspecting.

When an East Texas mortician (Jack Black) kills his crabby millionaire companion (Shirley Mac. Laine), his fellow townsfolk, who have their say here in documentary- style “interviews,” lobby to keep him out of jail. Black, meanwhile, turns in his most disciplined performance by a country mile. In the last few years, Linklater has gone on to receive all manner of well- deserved awards- season recognition.