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1. Mamangam 134.75cr 2. Lucifer - 121.79 cr 3. Madhura Raja - 104.67b cr 4. Kumbalangi Nights - 39.38 cr 5. Thanneermathan Dinangal - 34.55 cr 6. Unda - 31.32 cr 7.Love Action Drama. 26.32cr. 8. Oru Yamandan Premakadha - 24.20 cr 9. Uyare - 22.10 cr 10. Virus - 21.35 cr.
TOP GROSSERS 2019 At Kerala Box Office:-
1. Lucifer - 66.23 cr 2. Madhura Raja - 43.48 cr 3. Thanneermathan Dinangal - 19.75 cr 4. Kumbalangi Nights - 18.46 cr 5. Oru Yamandan Premakadha - 16.25 cr 6. Love Action Drama - 16.22 cr* 7. Unda - 15.70 cr 8. Uyare - 13.50 cr* 9. Avengers: End Game - 12.88 cr 10. Ittymaani - 12.60cr*
TOP FIRST DAY COLLECTIONS 2019 At Kerala Box Office:-
1. Lucifer - 6.70 cr 2. Madhura Raja - 7.46 cr 3. . Oru Yamandan Premakadha - 1.85 cr 4. Unda - 1.81 cr 5. Avengers: End Game - 1.62 cr 6. Ittymaani - 1.61cr 7.Petta - 1.40 cr 8. Love Action Drama - 1.35 cr 9. Saaho - 1.15 cr 10.Virus - 1.10cr
TOP RATED MALAYALAM MOVIES 2019:-
Kumbalangi Nights - 4/5 Uyare - 3.75/5 Unda - 3.75/5 9:Nine - 3.5/5 Lucifer - 3.5/5 Ishq - 3.5/5 Virus - 3.5/5 Thamasha - 3.5/5 And The Oskar Goes To - 3.5/5 Thanneermathan Dinangal - 3.5/5 Finals - 3.5/5
NOTED PERFORMANCES IN 2019:-
1. Soubin Shahir (KUMBALANGI NIGHTS, VIRUS, AMBILI) 2. Shane Nigam (KUMBALANGI NIGHTS, ISHQ) 3. Fahadh Faasil (KUMBALANGI NIGHTS) 4. Asif Ali (UYARE, VIRUS) 5. Shine Tom Chacko (ISHQ, UNDA) 6. Sreenath Bhasi (KUMBALANGI NIGHTS, VIRUS) 7. Mammootty (UNDA)
1. Rajisha Vijayan (JUNE) 2. Manju Warrier (LUCIFER) 3. Sai Pallavi (ATHIRAN) 4. Parvathy (UYARE, VIRUS)
LIST OF HITS AT KERALA BOX OFFICE 2019:-
1. Vijay Superum Pournamiyum - HIT 2. URI: The Surgical Strike - HIT (NON-NATIVE LANGUAGE) 3. Kumbalangi Nights - BLOCKBUSTER 4. Peranbu - HIT (NON-NATIVE LANGUAGE) 5. Thadam - SUPER-HIT (NON-NATIVE LANGUAGE) 6. Kodathi Samaksham Balan Vakkeel - HIT 7. June - HIT 8. Lucifer - ALL TIME BLOCKBUSTER 9. Madhura Raja - HIT 10. Avengers: End Game - BLOCKBUSTER (NON-NATIVE LANGUAGE) 11. Oru Yamandan Premakadha - SUPER-HIT 12. Uyare - SUPER-HIT 13. Virus - SUPER-HIT 14. Unda - SUPER-HIT 15. Thanneermathan Dinangal - BLOCKBUSTER 16. Porinju Mariyam Jose - HIT 17. Love Action Drama - SUPER-HIT
POPULAR ACTORS AT KERALA BOX OFFICE 2019:
.Mammootty (Success - 3/3)
Madhura Raja -ATBB Unda - Blockbuster Pathinettam Padi - Hit Ganagandharvan - **
Mohanlal (Success - 2/1). Lucifer - Blockbuster Ittymaani: Made In China - Flop Kaappaan -*
Dulquer Salmaan (Success - 1/1) OYPK - Super-Hit Zoya Factor - **
Prithviraj Sukumaran (Success - 1/3) 9:Nine - Disaster Lucifer - All-Time Blockbuster Brother's Day- Flop
Nivin Pauly (Success - 1/2) Mikhael - Disaster Love Action Drama - Super-Super Hit Moothon - **
Fahadh Faasil (Success - 1.5/2) Kumbalangi Nights - Blockbuster Athiran - Average-Hit Trance - **
Dileep (Success - 1/2) Kodathi Samaksham Balan Vakeel - Hit Shubharatri - Disaster Jack Daniels - **
Tovino Thomas (Success - 3/6) Lucifer - All Time Blockbuster Uyare - Super-Hit Virus - Super-Hit And The Oscar Goes To - Disaster Luca - Flop Kalki - Disaster
Asif Ali (Success - 3/5) Vijay Superum Pournamiyum - Hit Uyare - Super-Hit Mera Naam Shaji - Flop Virus - Super-Hit Kakshi Amminipillai - Disaster Underworld - **
Soubin Shahir (Success - 3/4) Kumbalangi Nights - Blockbuster Oru Yamandan Premakadha - Super-Hit Virus - Super-Hit Ambili - Flop Android Kunjappan - **
MOST HYPED MOVIES 2019:
1. Mamangam 2. Lucifer 3. Madhura Raja 4. Avengers: End Game 5. Bigil 6. Kaappaan 7. Oru Yamandan Premakadha 8. Love Action Drama 9. Virus 10. Saaho
The BUZZ METER (Number of films inside braces)
1. HEAVY (2) 2. EXCELLENT (3) 3. VERY GOOD (12) 4. GOOD (3) 5. ABOVE AVERAGE (4) 6. AVERAGE (3) 7. MEDIOCRE (5) 8. BELOW AVERAGE (3) 9. LOW (6) 10. VERY LOW (7)
Roundhay Garden Scene (1888)
All time History
The History for All time, The History of The Movie World
La casa de papel (2017)
The Series that make you thrilled, if you watch the first episode then you stop at the end.
Aval Kathirunnu Avanum (1986)
Very nice movie
I like this movie vere much, very good performance by everyone
Very nice to see
Perfect, like it very much... All the actors played very well
Heart touching movie
Director Ram is a specialist in making movies on very sensitive subjects.Each and every his movies the depth in his thought and the way he convey his ideas it's really shocks me. peranbu is truly a beautiful poetry by Ram.Peranbu is a moving portrayal of a father-daughter relationship that also forces us to realize how blessed we are.The story has told in compared to the different faces of nature and each story really stick to that.
Mammootty has delivered a phenomenal performance as Amudhavan.He just lived the as character. His expressions,his emotions everything was perfect. Sadhana as papa also delivered a fine performances. Anjali and Anjali Ameer also done their job perfectly
Peranbu is technically a very brilliant movie.The cinematography of the film is just brilliant.Theni Iswar visuals really makes us to connect with movies. Yuvan music and Bgm is flowless. I should say this is Yuvans best work till date.
Totally Peranbu is a Masterpiece which shouldn't be missed.After watching the movie it will haunt your mind and heart for long.i will recommend this movie as Must watch movie. Go and watch it will definitely make a change in your concepts of life.
A very memorable and remarkable way to show roman history. The story and names were fictious in comparison to Roman history however the movie made a remarkable approach to its audience and made them believe that its a true story of Roman empire.On May 5, 2000, Ridley Scott and Russell Crowe unveiled their R-rated Roman epic, Gladiator, in theaters nationwide. The film claimed five Oscars at the 73rd Academy Awards, including best picture. The Hollywood Reporter's original review is below.
Emphasizing brawn over brain and spectacle over intimacy, Ridley Scott's Gladiator nevertheless is an impressive accomplishment in its re-creation not only of the golden age of the Roman Empire but of the unspeakable brutality with which one of the world's greatest states conducted its business.
Following up on his recent best actor Oscar nomination, Russell Crowe solidly anchors this epic-scale gladiator movie - the first in nearly four decades - by using his burly frame and expressive face to give dimension to what might otherwise have been comic book heroics. A guy's guy, but one who should have considerable appeal for women as well, Crowe will be a major factor in the worldwide success of this ultimate jock movie from DreamWorks and Universal.
Like the Caesars, who commanded vast armies and ruled much of the world's population, Scott marshals the resources of a cast of thousands, colossal sets, exquisite costuming and graphic imaging to paint in the details of a credible though sometimes geographically confusing depiction of the Roman Empire.
Although the physically daunting production at times threatens to overwhelm the implausible tale, Crowe and several actors, most notably the late Oliver Reed, Connie Nielsen and, in an extended cameo, Richard Harris, never let the human dimension get lost.
The screenplay, originally written by David Franzoni (Amistad) with John Logan and William Nicholson apparently doing rewrites, formulates a startlingly simplistic good-vs.-evil scenario. It also asks an audience to swallow the idea of Rome's greatest general becoming almost overnight a slave and then a gladiator. Then again, in the second century of the Christian era, the Empire was a pretty crazy place and anything could, and did, happen.
The movie opens as Crowe's General Maximus undertakes the final battle of his three-year campaign in the northernmost reaches of the Empire. "At my signal," he tells his aides, "unleash hell." And hell it is. Scott treats us to a striking display of warfare A.D. 180-style. The ancient killing machines swing into action: Thousands of spears and flaming arrows pierce the air, catapults fling fiery clay pots against flammable trees, hand-to-hand combat entails broadswords and axes, and a flanking maneuver led by Maximus himself sees the cavalry slip behind enemy lines to finish off the outmanned resistance.
In this early sequence, Scott signals the scope and scale of his ambitions, painting a broad canvas of blood, valor and horror, where action is slowed down to create a blur of shade and color, an impressionistic chiaroscuro of maniacal madness.
As the smoke of battle drafts away, the movie's main characters are revealed. The dying emperor himself is unaccountably on hand, the white-manned Marcus Aurelius (Harris in a role John Huston would have played 20 years before). Waxing philosophical about a rule where virtue and wisdom is overshadowed by constant warfare, Marcus lays bare his unhappiness about the corruption of Rome.
He informs Maximus, his wastrel though ambitious son Commodus (Joaquin Phoenix) and his much wiser daughter Lucilla (Nielsen) of his intention to pass over his son to appoint Maximus as Protector of Rome. However, Commodus makes certain the old man dies before those wishes are widely known. He declares himself emperor before the body is cold, then orders Maximus' immediate death.
Escaping execution, Maximus makes his way seemingly overnight - locations are vague throughout - to his home, where he finds his wife and son hideously crucified. Gravely injured himself, he falls into the hands of a slaver, Proximo (Reed), who turns him into a gladiator along with fellow slave Juba (Djimon Hounsou).
Meanwhile, Commodus, implausibly unaware of Maximus' survival, arrives in triumph back in Rome where he indulges himself in all kinds of villainies. To take the populace's minds off his evil designs, he restores the gladiator games to the capital.
Soon enough, Maximus, who has covered himself in glory in games in the provinces, gets called up to the big leagues. Arriving in Rome, he aims to achieve greatness in the arena, win the hearts of Romans and challenge the emperor himself, the man he has vowed to destroy.
Neither Scott nor his writers seem the least put off by the flatness of this moral universe. Crowe's warrior embodies all that is good in the Roman ideal - where strength is found in honor and one remains loyal to a higher morality than political power. Phoenix's tyrant, on the other hand, is a sniveling and indolent punk, snarling his every line of dialogue and incapable of even the slightest glimpse of anything reflecting his noble lineage.
To drive home Commodus' tyranny, his entry into Rome is accompanied by monochromatic shots of the pageantry that ape those in Leni Riefenstahl's Nazi propaganda classic Triumph of the Will. Scott thereby ensures his audience always understands where the moral center lies. But some of the fun drains out of the movie when its makers resort to caricature over character.
Nielsen's Lucilla is more confusing than complex, seemingly allied with her brother but emotionally pulled toward Maximus, with whom she once had a romantic dalliance that left them both bitter. But Nielsen delivers a character whose contradictions stem from not only divided loyalties but a moral inheritance from her father.
Reed's ex-gladiator-turned-slaver emerges as one of the film's more interesting figures, a man of practicality who, as practical men are often wont to do, proves to be a man of more honor than one might initially think.
But it is Crowe who dominates, a sexy and decisive man of action, bloodied but never bowed. Crowe is one of the most watchable of movie actors, fast on his way to becoming a movie star.
Arthur Max's sets recreate a splendid Rome, though some CGI shots of the afterlife, which figures prominently in Maximus' inner life, are too contemporary looking to jibe with the ancient world. Hans Zimmer and Lisa Gerrard's music catches the ominous majesty of the cruel Empire. John Mathieson's camera is never showy yet always in the right place to catch the action. The stunt work is thrilling, an unimaginable choreography of men, weapons, chariots and wild animals down to the smallest details.
The movie is impressive in scope, but like the gladiator games themselves, designed for mindless spectacle to please the multitudes.