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Misdirection. Murderers and magicians thrive on it, and, to some extent, film directors too. Homi Adajania knows his way around misdirection: his debut feature, Being Cyrus (2005), was an eerily involving thriller, its calm conceits and subtle performances building up to a delicious twist. He attempts the same trick all these years later in Murder Mubarak. As before, he gathers a fine ensemble whose florid antics keep us guessing. The only slip-up is that one of the performances — by no means a peripheral one —is alarmingly off-key, drawing more attention to itself than it ideally should.<br/>During a murder investigation, a non-traditional police officer turns a spotlight on an array of suspects. He steps into their world as an outsider, only to find there is so much more than what meets the eye.
⏲ 2:21:43 👁 290K
Technical Drawing
⏲ 10 minutes 50 seconds 👁 6.7K
Violet Soh
⏲ 1 minute 24 seconds 👁 90.8K
A Wonder of the Ancient World. A marvel of engineering. A biblical transport? Could the Bible's favorite flood hero also have a place in Egypt's history? One man thinks so.
⏲ 5:1 👁 390K
Civil Engineers Training Institute
⏲ 16 seconds 👁 720.5K
The Efficient Engineer
⏲ 22 minutes 34 seconds 👁 546K
The premise is impressive. As was established through the trailer, Krishna (Naga Shaurya) hails from a ritualistic Brahmin family where the mother (Radhika Sarathkumar) knows how to have her way. When he moves to Hyderabad to do a software job, he feels liberated. This newfound freedom makes him woo Vrinda (Shirley Setia), a North Indian living in the city, at the first opportunity. Vrinda, to his fortune, is his friendly manager. Much as she loves Krishna, Vrinda is in a bind because she is barren owing to a disorder. Krishna now takes a tricky decision. He pulls the wool over his mother's eyes and marries Vrinda. Least does he realize that this is not going to be smooth sailing.<br/><br/>This film doesn't subscribe to regular notions of masculinity. In this regard, director Aneesh R Krishna must be commended. Naga Shaurya's character doesn't mind being at the receiving end of the raw deal if it makes his girlfriend happy. Like many Telugu cinema male leads, he is mistaken often by those who are supposed to behave better.<br/><br/>Mahathi Swara Sagar's musical flavour sits pretty with the mood of the film. 'Emundi Ra' is enjoyable, although the rest of the songs don't match up to its standard. Sai Sriram's cinematography makes the production values look better. Compared to Shaurya's films like 'Nartanasala', 'KVV' has got a much better visual appeal.<br/><br/>For a change, the story taps into the dynamics of an evolving relationship between a woman and her mother-in-law. In doing so, it makes sense. There are dialogues that sensitize us to the need to empathize with the pulls and pressures faced by working women. Radhika Sarathkumar makes us see her character's point without appearing mean. It's also amusing that she is shown to be someone who has the ability to predict the future accurately.<br/>Shirley Setia makes a vivacious Telugu debut. She looks believable as a North Indian migrant in Hyderabad, drawing the unwarranted attention of a lot of men. Amitabh Pradhan's negative role could have been etched in a better way, though.<br/><br/>The arc of Vennela Kishore's character is funny, with the coma portions standing out. Satya is effortless. Brahmaji can make us enjoy even ordinary lines. Wish Rahul Ramakrishna had got to do better. Annapurnamma is seen as Krishna's granny, while Saranya Pradeep and Himaja have their parts.<br/><br/>The second half is where the actual story takes place. Much of the drama happens indoors. The conversations between three different characters make for a dramatic watch. The climax has the right quantum of simplicity and likeability. The pub scene is not squandered away.<br/>On the downside, the workplace portions should have been constructed in a realistic fashion. The frustrations of Satya and Rahul Ramakrishna are captured well initially. By and by, classist humour and regular tropes like a mean guy creeping up the female lead make their way. Nowadays, the audience are expecting workplace dynamics to be shown in an entertaining way without taking creative lib
⏲ 2:18:48 👁 1.1M
Sketchy Brett
⏲ 13 minutes 15 seconds 👁 8K
AF Math u0026 Engineering
⏲ 12 minutes 9 seconds 👁 32K
MEASURING in at just 100cm tall - and 99cm wide - the Peel P50 is reported the world’s smallest car to ever go into production. The three-wheeled microcar was originally made from 1962 to 1965 by the Peel Engineering Company and was listed in the 2010 Guinness World Records as the smallest production car ever made, with a weight of just 59 kilograms. Of the 50 P50s ever produced, only 27 are still known to exist today. Canadian, Greg, is one of the owners of these rare cars, and he told Future Studios Cars: “The P50 came out of the Isle of Man, basically the concept was a little car that you can use in the city”. With its DKW 49cc engine, the P50 has a top speed of 37mph and 4.2 horsepower. “It’s a one-seater with one headlight - I also love how it has three wheels, the back wheel is the one that is driving it with a chain from a little moped engine,” Greg said. With its uniquely small size, the P50 is not the most practical car to use. “There’s no reverse because you have to get out of the car and go around to the reversing handle, pick up the car and turn it around then get back in,” explained Greg. Although this is undoubtedly a small car, it has a big history. Greg said: “There was a Russian freighter that came into the port of Vancouver, they used it to drive around their huge freighter on the deck but then the refrigerator broke so when they came back, they traded this car in on a refrigerator”. Today, these cars are incredibly difficult to come by and are incredibly expensive - in 2016, a P50 was sold at auction for over $176,000.
⏲ 6:49 👁 220K
ADTW Study
⏲ 5 minutes 40 seconds 👁 129.2K
yovo68
⏲ 36 seconds 👁 189.6K
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