Movie Review: Satyagraha

Rating: 4/5

Not a day passes when you don't hear/read about rampant scams and corruption, dreadful and appalling crimes, shortage of essential commodities and thick-skinned and power-hungry netas going back on their promises. There's no denying that you commence the day by reading/watching mostly miserable news in newspapers/news channels. Prakash Jha, a conscientious film-maker, has always emphasized on narrating stories that mirror actuality, raising pertinent issues that affect the nation. This time, in SATYAGRAHA, the proficient storyteller attempts to depict the anguish in middle class Indians and how this stratum of society is left with no choice but go on recourse to start a movement against corruption and the deceitful babusresponsible for the mess.

The timing couldn't be more appropriate, for SATYAGRAHA summarizes the mood of the ordinary man and the nation in general. Jha minces no words while flaying and condemning the fraudulent and unscrupulous politicians and the unjust system in a style that's now synonymous with his brand of cinema -- realistic, hard-hitting, forceful -- that leaves a hammer-strong impact. 

I wish to affirm that SATYAGRAHA has a striking semblance to Jha's former proficient work RAAJNEETI, but I must also acknowledge that this is Jha's most intensely political film thus far. Right from the abuse of power taking place around us to depicting the ugly underbelly of Indian politics, which, of late, has transformed into big bucks and business, Jha and co-writer Anjum Rajabali make sure they chisel and sculpt the screenplay around the present-day scenario, often borrowing from headlines and episodes that the spectator is acquainted with. In addition, like the well-intended political protest movement sometime back, SATYAGRAHA also portrays the fact that the movement/s ought to be well thought-out and structured to recover from the current scenario. 

SATYAGRAHA deals with the movement of the middle class to re-negotiate transparency in democracy. It's the story of a man who is a firm believer of Gandhian principles [Amitabh Bachchan], an ambitious entrepreneur who represents the modern India shining philosophy [Ajay Devgn], a social activist who aims to be a politician [Arjun Rampal], a fearless political journalist [Kareena Kapoor Khan] and a wily politician [Manoj Bajpayee] who uses every means to break the system. 

Prakash Jha, one of the finest narrators of political themes, derives inspiration from a number of real-life episodes that occurred in the recent past, but SATYAGRAHA doesn't take sides nor does it favor/denounce any particular politician. In that respect, it's a standalone film that encompasses episodes such as the Anna Hazare movement, the murder of the whistleblower who exposed the road mafia and the telecom scam, besides highlighting the police attack on public and the candle light protests. Also smartly intertwined are intricate relationships amidst the backdrop of politics and corruption to make the goings-on more absorbing and engaging. 

Executing a political thriller seems like a cakewalk for Jha, who, by now, is a veteran in this genre of cinema and executes a variety of sequences with aplomb. Note the point in the narrative when Amitabh is released from police custody after Manoj Bajpayee intervenes and the sequence that ensues. There's another pertinent moment between Amitabh and Ajay -- an emotional one, in fact -- which gets you all moist eyed. Similarly, there are several episodes in the second hour that keep you thoroughly hooked to the proceedings... and that includes the culmination, which takes the film to its pinnacle. Besides, Jha smartly bundles in a couple of songs in the narrative, with 'Raske Bhare Tore Naina' [Aadesh Shrivastava] and 'Raghupati Raghav Raja Ram' [Salim-Sulaiman] pepping up the goings-on, especially the latter which has truly strong words that reverberates one's thoughts. Sachin Krishn's cinematography captures the hues and angst with precision. Dialogue are piercing, intense and thought-provoking all through. 

SATYAGRAHA is embellished with qualitative performances, with each actor grabbing eyeballs. Both Amitabh Bachchan and Ajay Devgn's characters bear striking correlation to real-life characters, but the capable actors ensure they don't come across as caricatures. Amitabh is incomparable and unmatched yet again, delivering a performance that's easily one amongst his finest in the recent times. He's fantastic and also the scene stealer. Ajay underplays his part brilliantly. He breathes fire where required and handles the poignant moments with extreme care, without going overboard. Kareena is effortless yet again, displaying a natural streak while interpreting her character. Arjun Rampal also stands out in a film that boasts of towering performers. That speaks volumes of his range as an actor of calibre and competence. Manoj Bajpayee is vicious and sadistic to the core, flaunting the evil streak to the optimum. Here's another power-packed performance by this splendid actor. Amrita Rao sparkles in a noteworthy role, leaving a strong impression. 

Indraneil Sengupta leaves a mark in a cameo. Vipin Sharma is tremendous yet again. Vinay Apte is top notch. Mugdha Godse doesn't get much scope. Manoj Kolhatkar, Shireesh Sharma, Ajay Trehan and Girish Sahdev are noticeable. 

On the whole, SATYAGRAHA is an all-engrossing, compelling drama that mirrors the reality around us. In fact, it's yet another brilliant addition to Prakash Jha's credible repertoire, who has created some of the most politically momentous motion pictures. For the splendid drama and the electrifying dramatic highs, I suggest you must watch this hard-hitting fare. Absolutely recommended!

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Movie Review: Madras Cafe

Movie Review: Madras Cafe

Rating: 4/5

Political thrillers aren't really Hindi movies' favoured subject matter. Getting embroiled into unwanted hullabaloo -- before or post release of the film -- is not what a film-maker would want to get into. But Shoojit Sircar, who attempted a film on Kashmir [YAHAAN] and followed it up with a film on sperm donation and infertility [VICKY DONOR], gets into the serious zone yet again with MADRAS CAFE. An espionage thriller that's set in India, Thailand, Singapore, U.K. and Sri Lanka.

So why a title like MADRAS CAFE for a film that talks of the assassination of our former Prime Minister? Well, that's the cafe where the conspiracy was hatched, we're told. Okay, now let's move ahead... 

The Hindi movie spectator has often been subjected to stories that depict the conflict with Pakistan, but Shoojit attempts to narrate a story that not many from the present generation would know -- the civil war in Sri Lanka. What transpired in the 1980s and 1990s and how it impacted the political scenario of India has never been recreated in the Hindi film space. The conflict is diverse this time around and so is the territory. In short, enlightenment takes precedence over entertainment in this case. 

Final word? MADRAS CAFE is one of the finest thrillers to come out of India. No two opinions on that! 

An Indian Intelligence agent, Vikram [John Abraham], is assigned the task of going to Sri Lanka for a covert operation. As he embarks upon his journey, with the intention of disrupting a rebel group, he discovers the larger issue: A conspiracy to assassinate the former Indian Prime Minister. 

Shoojit Sircar takes a historical actuality and along with screenplay writers Somnath Dey and Shubendu Bhattacharya weaves a captivating and compelling screenplay around it. He handles the sensitive subject matter with supreme care, prudence and sensitivity -- without being biased or opinionated. He restructures the civil war in Sri Lanka with authenticity, portraying the rebels and diplomats and also depicting India's involvement in the conflict that had ramifications on India. As a matter of fact, the storyteller tries to be as neutral as possible while narrating the tale and that's what makes the effort so credible and convincing. 

Shoojit comes to the point at the very start [the opening sequence of the film prepares you about what to expect, frankly!], enveloping a number of incidents and episodes that transpired during the bygone era. The danger, the vulnerability, the helplessness, the role of the Indian government, the politics and the conspiracies... Shoojit transports you into that milieu and environment with conviction. The sequences that lead to the hair-raising finale and the impactful winding up astonishes you beyond words. 

What also needs to be highlighted is the fact that the Hindi movie spectator is used to a lot of spoon feeding, which discourages independent thought, but Shoojit abstains from indulging in it. The intention of the film-maker is very evident that the spectator form his/her own estimation, which seems most appropriate in this case. Additionally, Shoojit deserves brownie points for thinking beyond the stereotype, especially since he doesn't repeat himself after the immensely successful and likeable VICKY DONOR. 

The film is devoid of songs, except for the lone track that comes towards the conclusion, which is absolutely fine. The background score [Shantanu Moitra] is terrific. Shunning away from gravity-defying stunts, the action director also keeps the action as bona fide as possible. The DoP [Kamaljeet Negi] captures the ambiance and the picturesque locales splendidly. Dialogue [Juhi Chaturvedi] are intelligent, piercing and poignant. 

John Abraham has often been labelled a director's actor and Shoojit makes sure he doesn't let the actor's strong persona overpower the challenging opportunity of depicting a law protector. John too surrenders himself completely to the director's vision and though he doesn't play the conventional hero, he does make an earnest effort to look the part he's portraying. Post ROCKSTAR, Nargis Fakhri gets yet another stellar role [of a war correspondent] and I must add, she takes rapid strides as an actor. 

It's a treat watching Siddhartha Basu [as Robin Dutt] in a challenging role. He's fantastic. So is Dibang, who is damn impressive in a cameo. Prakash Belawadi [as Bala] is another actor who leaves a super impression. He's first-rate. Ajay Ratnam [as Anna] gives a good account of himself. Raashi Khanna is efficient as John's wife Ruby. Piyush Pandey is appropriate. Sanjay Gurbaxani as the former Prime Minister is apt. Kannan Arunachalam [as Shri] is perfect. 

On the whole, MADRAS CAFE is an earnest and honest effort, a terrific thriller, with several poignant moments and episodes that leave a stunning impact. It's a film that you should watch because it gives you an insight into an exceptionally pertinent episode of history. If you are in the frame of mind to watch superior quality, sensible cinema, I would strongly recommend MADRAS CAFE to you. Try not to miss it!

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Portable socket that gets its power from the sun

Stick This Portable Outlet To Your Window To Start Using Solar Power!

You can just stick this portable outlet to your window to start using solar power! So far we have seen solutions that act as a solar battery backup, but none as a direct plug-in. Simple in design, the plug just attaches to any window and does its job intuitively.

According to the designers, Kyuho Song & Boa Oh: “We tried to design a portable socket, so that users can use it intuitively without special training.”

Stick This Portable Outlet To Your Window To Start Using Solar Power!It's a portable socket that gets its power from the sun rather than the grid. You plug into a window instead of into the wall. 

It's easy. The solar panels suck energy from the sun. The charger converts that energy into electricity. You plug in to the charger.

The Window Socket pulls solar power to an internal battery, which can be either used immediately or saved for use during night time hours or when you are away from the sun. After 8 hours of charging, the socket provides the user with 10 hours of electricity.

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Movie Review: KICK-ASS 2

REVIEW: 'KICK-ASS 2' GOES THROUGH THE 'KICK-ASS' MOTIONS WITHOUT ACCOMPLISHING MUCH

Rating: 2.5/5

Credit: Universal StudiosThe idea of a Kick-Ass sequel — even a good one, even one that might rope in an off-his-rocker Jim Carrey for more than a collective 10 minutes — seemed a bit unnecessary from the get-go. And this is coming from someone who liked the first movie, having delighted in its colorful charm and pitch black wit without the aid of any established fandom from Mark Millar's graphic novel. The 2010 superhero flick felt complete. It neatly rolled its ideas and themes into a standalone feature, notwithstanding the obvious sequel bait of its cliffhanger. So the announcement of a Kick-Ass 2? Yeah, sure, it could be fun. But "worthwhile" is another story.
Perhaps it's the absence of the original film's creative team — writer/director Matthew Vaughn and writer Jane Goldman hand all duties to Jeff Wadlow for the follow-up — that explains why Kick-Ass 2 feels not only subpar to its predecessor, but lacking in so much of its kinetic energy. Kick-Ass (Aaron Taylor-Johnson) and Hit-Girl (Chloe Moretz) slay dozens of enemies, but not with the fresh vigor that kept the first movie from feeling overdone... somehow. Very little is energized in Kick-Ass 2, without a reborn Dave Lizweski's (Taylor-Johnson) booming origin story pushing forth the action, or the haunting vigor of a young Mindy Macready (Moretz) peppering in some highly macabre fun... and a few peeps of genuinely sweet, sad sensitivity. While Moretz's character, struggling to adjust to a new "normal" life as a high school student, does engage in an interesting new story, she isn't given the time to explore it fully, as our attention is diverted to Dave's return to the heroism game (which he does for no established reason, after a hiatus brought on for no established reason) and the ascension of Chris D'Amico (Christopher Mintz-Plasse) from bratty punk to full-fledged supervillain who calls himself The Motherf**ker.
Jim Carrey in Kick Ass 2
The connotations of the name are particularly unsettling when you consider Chris' garb: a box full of S&M gear he finds in his mom's closet after inadvertently, though quite unapologetically, killing her in her tanning bed. The whole sequence of events is so mean-spirited and twisted that it just feels off-putting. It doesn't match the dark but earnest ambiance of Kick-Ass; it's as if the new mission statement was, "Let's make this one even more f**ked up!" In this tunnel vision endeavor, you lose the compassion that paddedKick-Ass' morbidity.
But there is fun to be had with the new film, most notably in its secondary players: Kick-Ass and Hit-Girl form a posse, made up most notably of ex-Mafioso Col. Stars and Stripes (Carrey, who reminds us that he's an undeniable hoot and far more versatile than he gets credit for being) and wannabe scientist Dr. Gravity (Donald Faison, launching his endearing goofiness to new extremes). But just as we could stand to have a lot more of Mindy's face-off with her new arch enemies — her high school's popular girls — we would love a chance to get to know these masked folk a bit better. Or at least watch them make more jokes!
Even the dull majority of Kick-Ass 2 never dips below watchable. Lacking in charm and spirit, but always "good enough" to keep us from losing interest altogether, the film doesn't plod along as much as it does just sort of skip in circles. A total failure of a movie? Hardly. But in its will to reinvent and experiment anew with everything we discovered in the original, we'd have to call Kick-Ass 2 effectively powerless.

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Movie Review: Once Upon Ay Time In Mumbai Dobaara!

Movie Review: Once Upon Ay Time In Mumbai Dobaara!

Rating: 2.5/5

The Hindi film industry's fascination with gangster films dates back to the 1970s. Ironically, this year has witnessed a plethora of gangster films invading our cineplexes, while a few of them were inspired by real-life characters as well. Additionally, the year also marks a substantial rise in sequels, since the original films have tremendous recall value.

Milan Luthria's ONCE UPON AY TIME IN MUMBAI DOBAARA! takes off from where ONCE UPON A TIME IN MUMBAAI concluded -- the struggle for power. But unlike most gangster movies, ONCE UPON AY TIME IN MUMBAI DOBAARA! takes the precarious route of narrating a love story, with two criminals falling in love with the same woman, besides focusing on the game of one-upmanship between gangsters and the power struggle being played in the lanes and streets of Mumbai. 

Does Milan Luthria's take on the underworld live up to the humungous expectations? Let's analyze... 

ONCE UPON AY TIME IN MUMBAI DOBAARA! narrates the story of an underworld don, Shoaib [Akshay Kumar]. His only confidantes are his best friend Javed [Sarfaraz Khan] and former lover Mumtaz [Sonali Bendre]. He notices Aslam [Imran Khan] and takes him under his wings. Gradually, Aslam becomes one of his trusted confidantes. 

Shoaib stumbles upon an aspiring actress Jasmine [Sonakshi Sinha]. Slowly, but surely, his attraction towards Jasmine goes on to becoming an obsession. This creates a rift between Shoaib and Aslam and results in the ultimate face-off between the mentor and protege. 

First things first! Milan Luthria, who replicated the bygone era in his last two films [ONCE UPON A TIME IN MUMBAAI and THE DIRTY PICTURE] successfully, seems like a complete pro in recreating the long-gone decades with flourish. Right from the ambiance to the outfits to the dialogue the protagonists or the assorted characters deliver, everything mirrors the 1970s and 1980s with accuracy and aptitude. 

Unfortunately, the first hour doesn't cut ice, focusing on the mandatory light moments, songs and dramatic moments that seldom seize your attention. However, Milan and writer Rajat Aroraa make sure they reserve the best for the second hour, packing the film with heavy-duty drama and conflict that makes it captivating and engaging. Also, Milan doesn't resort to action and bloodshed -- the key aspects that are inevitable for any gangster film -- to carry the story frontward. These elements, although part of the narrative, are used as garnishing wherever essential. In a way, Milan attempts a gangster film, but steers clear of factors that could eclipse the love story, drama and conflict in the narrative. 

Like I pointed out earlier, while the prequel held the spectators by its ears and eyes, ONCE UPON AY TIME IN MUMBAI DOBAARA! suffers because the grip is absent from the very start itself [which was the highpoint of the prequel]. Also, the villain [Mahesh Manjrekar] is just not authoritative or commanding enough here. But the writer springs a surprise by making the don [Akshay] vicious and vindictive towards the latter half, which adds a lot of weight to the proceedings. The final moments, starting with the fiery confrontation involving Akshay and Sonakshi, when she mistakes his friendship for love, right till the closing stages of the film, the graph of the film only soars upwards. 

Milan gets ample support from the DoP [Ayananka Bose; top notch] as well as the art department [well done, yet again!] to impart his vision on screen. The styling is unflawed, while the background score enlivens the ambiance at numerous junctures. The high point, of course, is the dialogue penned by Rajat Aroraa, which contributed enormously to the last two films and makes a significant contribution this time too. The conversations are compelling, forceful and power-packed. Pritam's music is in sync with the mood of the film. 'Yeh Tune Kya Kiya' and 'Tayyab Ali' [from AMAR AKBAR ANTHONY] are noteworthy compositions. 

Milan is a connoisseur who extracts proficient performances from his actors and this is apparent in ONCE UPON AY TIME IN MUMBAI DOBAARA! as well. Akshay enacts the grey character with flourish. He adds a lot of novelty and uniqueness to his character, underplaying it magnificently and modulating his voice dexterously. After playing urban characters in his earlier films, Imran plays a desi character [his second this year!] this time, catching you by complete surprise yet again. It won't be erroneous to state that he's the dark horse. Sonakshi seems to be improving with every film. Besides exuding the right amount of innocence, she goes on to demonstrate that she can handle emotional outbursts really well, especially during the climax confrontation with Akshay. 

Sonali Bendre Behl doesn't get much scope, but shines in the powerful sequence with Akshay. Sophie Choudhry sizzles in a cameo. Sarfaraz Khan does well. Mahesh Manjrekar is wasted. Ditto for Abhimanyu Singh, who doesn't get much scope. Pitobash, Hussain Shaikh, Mushtaq Khan and Chetan Hansraj are alright. 

On the whole, ONCE UPON AY TIME IN MUMBAI DOBAARA! has a powerful second half and the drama/conflict helps the film regain ground, after a shaky first hour. However, the fact cannot be denied that ONCE UPON AY TIME IN MUMBAI DOBAARA! pales in comparison to its prequel.

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Movie Review: Chennai Express

Movie Review: Chennai Express

Rating: 4/5

The season of biggies commences from Eid onwards. And it sets in motion with the global release of CHENNAI EXPRESS. Shah Rukh Khan. Deepika Padukone. Rohit Shetty. UTV. Four formidable entities that translate into the ultimate, unbeatable combination. The timing couldn't be better as well: Eid. The hype and buildup, obviously, is humongous  The question is, does CHENNAI EXPRESS live up to the gargantuan expectations? Does it deliver entertainment, entertainment and entertainment in colossal doses? After all, that's what you expect when you embark on this journey called CHENNAI EXPRESS, right?
Chennai Express movie review
Rohit Shetty's funda is simple: Entertain the spectator with larger-than-life heroism, amusing episodes, high-pitched drama, clap-trap and fiery dialogue, foot-tapping music, gravity-defying action, mass appealing humor... and of course, blow up as many cars as possible in trademark Rohit Shetty ishtyle. CHENNAI EXPRESS has all of that and much, much more. Rohit has regaled the spectators with his brand of cinema over the years, pioneering a path which many directors have tried to ape repeatedly. Rohit, of course, continues to stand tall, which is very evident as the reels of CHENNAI EXPRESS unspool.

CHENNAI EXPRESS is *not* path-breaking at all. Nor does it cater to those who scoff at potboilers. Rohit has always claimed that he's still that common man watching movies at a singleplex, so his movies, consequently, cater to those with an appetite for masalathons. CHENNAI EXPRESS lives up to the Himalayan expectations that you have from the project. It's an entertainer that proves that the SRK - Rohit Shetty combo is truly magical. In fact, it's one of the best combos to hit the masala film space.

Final word? Just leave everything and board this Express called CHENNAI EXPRESS. Pronto. This one's a feast for those who love, adore, relish and worship zany masala entertainers!

Rahul, a Mumbai-based person [Shah Rukh Khan], embarks on a journey to a town in Tamil Nadu to fulfill the last wish of his grandfather to have his ashes immersed in Rameshwaram. En route, he meets a South Indian girl, Meena [Deepika Padukone], who wants to flee from the clutches of her father [Sathyaraj], who wants her to get married to a person she doesn't love [Nikitin Dheer].

CHENNAI EXPRESS is a smartly packaged entertainer, an unabashed masala fare that packs just about everything that the avid moviegoer expects from a film of this stature. Relying heavily on the age-old formula of love emerging triumphant against all odds, CHENNAI EXPRESS is vintage stuff no doubt, but makes you swoon under its impact. Designed to woo the masses, very much akin to the kind of cinema Manmohan Desai made in the 1970s and 1980s, CHENNAI EXPRESS leaves you beaming, breaking into applause on varied occasions, as the plot advances.

CHENNAI EXPRESS is Rohit Shetty's version of DILWALE DULHANIA LE JAYENGE and he and his team of writers whip a tale that restores the spectator's faith in this much-loved genre of cinema. But there is sense and sensibility behind what unfurls on the screen. And that's what gives CHENNAI EXPRESS the required edge when you compare this film with his earlier works. The first half is laced with the usual banter between SRK and Deepika, but the film gets into the groove during the post-interval portions, more so when the love story takes off. Starting from the sequence at the temple, right till the power-packed finale, the graph of the film continues to soar upwards. SRK's dialogue with Deepika's father, the fight with Nikitin and of course, the 'lungi' dance towards the end credits... you exit the auditorium with a wide grin.

There are minor aberrations, of course. The placement of two songs, positioned one after the other in the second hour, could've been avoided. A few jokes in the first half do not create the desired impact. But, like I said, the love story and the ensuing drama in second hour more than compensates for the hiccups. In short, no matter how unconcerned, dismissive or cynical you may be of the combo's [SRK - Rohit Shetty] first film together, you cannot turn a blind eye to the fact that CHENNAI EXPRESS wins you over with the entertainment on display.

Surprisingly, there's not much action this time, but the one towards the climax wins hands down. The duel between SRK and Nikitin is what makes masala films work and work big time. Dudley's cinematography captures the mood of the film as well as the stunning locales of South India with flourish. Vishal-Shekhar's soundtrack is appropriate, especially '1234' and 'Titli'. The tribute to Rajnikanth is the icing on the cake. Even though the film's humor seems very tongue-in-cheek, the dialogue [Sajid-Farhad] make their presence felt, due to good play with nostalgia.

As Rahul, SRK is in top form. Rohit Shetty hands out a character to the actor which was lacking in some of his earlier works. And SRK does optimum justice to the character he's offered, doing a swell job of it in the process. Deepika seems to be climbing the ladder with every film. With this one, she takes a giant leap. Aiming for the masses after portraying the urban gal in films like COCKTAIL, RACE-2 and YEH JAWAANI HAI DEEWANI, Deepika's act [and her pronunciations] will steal your heart for sure.

Sathyaraj is super as Deepika's authoritative father. The actor conveys so much through his eyes. Nikitin Dheer's towering presence adds a lot of weight to his character. He could just become the new face of menace. Veterans Lekh Tandon and Kamini Kaushal, as SRK's grand-parents, make their presence felt.

On the whole, CHENNAI EXPRESS has the trademark Rohit Shetty stamp all over. You seek entertainment, entertainment and entertainment in a film like CHENNAI EXPRESS and the movie lives up to the hype and hoopla surrounding it. The tremendous craze surrounding the film, the Rohit Shetty - SRK - Deepika combo, the Eid release, besides the extensive release strategy by UTV, should ensure a record-breaking start for this biggie. Right from the paid previews to the opening weekend to Week 1, CHENNAI EXPRESS should be on a glorious march in days to come, setting new records in India and also in the international markets. All you lovers of masala movies, board this Express pronto!

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How Does The Cost Of College Compare With Kegs Of Beer


How Does The Cost Of College Compare With 

Kegs Of Beer

The cost of an elite education from a FORBES top 10 college doesn't come cheap. Neither does a private island or 1800 kegs of beer.
We compare the average tuition cost of college at the best of the best schools to a variety of premium goods. The breakdown goes from a full four years all the way down to a single minute of classroom time. But remember, this doesn't include the cost of room and board, food, fun, and all the other things students are spending on.
Source: U.S. Department of Education, National Center for Education Statistics
WATCH: What Can You Buy With 4 Years Tuition?

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