Adidas unveils 'Brazuca' World Cup ball!

Adidas unveils 'Brazuca' World Cup ball -

Here's all you need to know

With 2014 about to kick-off, the sports world is beginning to get excited about next summer's FIFA World Cup - which will take place in sun soaked Brazil. To go along with this week's first round group draw, Adidas has taken the wraps off the official football for the tournament, the Brazuca, and T3 got a first look.

Boasting a new construction method, colourful decor and some tech filled surprises, the Brazuca ball is labelled by Adidas as the 'most tested ball ever'. But will it be the driving force behind success next summer? Or simply that excuse you use when your team gets eliminated through a bumbling goalkeeping error.

We’ve dissected the jargon and unearthed the cool tech to bring you the low down on the new Adidas Brazuca. From the design, to the name and even some of the inner workings on how it was created, we've got it all covered.

So, what is it?

The Brazuca – pronounced similarly to bazooka is the brand new football that will be used during the FIFA World Cup in Brazil next summer. Designed by Adidas, it is the ‘most tested ball ever’ from the German sports brand. The name was chosen through a poll in Brazil and supposedly describes the Brazilian way of life.

What's so special about it?

As you might expect, it's packed full of exciting ball tech, mainly through its clever new panel layout for the ball's construction. There are fewer panels than before – six to be precise. each attached by thermal bonding. Adidas claims this improves accuracy, which is obviously very important for those kicking this thing about come next summer.

You can also follow the ball on Twitter - yep, you read that correctly. Follow @brazuca and you can stay up-to-date with the movements of the ball and hear its thoughts on who's been kicking it around. What will they think of next?

How much can change in a ball?

On the inside, things are fairly familiar. The bladder and the carcass are the same as Adidas used in two previous balls – the Tango 12 from Euro 2012 and the famed, star emblazoned UEFA Champions League ball. It’s the outside that has seen the innovation though, with a new, much grippier coating.

Is it a MiCoach ball?

MiCoach is the brand name for the German kit purveyor's collection of sports technology such as apps and watches, but while Adidas has recently shown off the MiCoach ball which allows teams to track shot speeds, power and the like, none of these features have been included in the Brazuca.

Director of Football Innovation for Adidas, Antonio Zea said that while they are keen to keep working on this tech, it’s not something they’re looking to bring to a competition ball just yet.

“The MiCoach team will continue to work with players to bring it to the market in the future,” said Zea

Here at T3 we’re big fans of the MiCoach tech, and the idea that one day we could get live stats and info about even the smallest details of a match has us, well, a little excited.

Is it still round?

Surprisingly, yes. Though unlike World Cup 2010, no one is making a big deal about the shape of the ball this time around.

What’s it like to play with?

With our appetite for some pitch time whetted we fished out some boots, donned some shin pads and took the new ball out for a spin. It was clear to see the ball was accurate at long range shooting. It felt grippy as well, so it should play nice with goalkeepers. It also felt well balanced and not overly light, perfect for pinging cross field balls without spraying them out of play.

Where was it designed?

It's been under wraps in the AIT (Adidas Innovation Team) area of the Adidas HQ in Herzogenaurach, about 30 minutes from Nuremburg, Germany and we were staggered by some the processes.

The ball goes through loads of different tests, from being kicked by a robotic leg over and over again, to being jammed inside a washing machine like device covered in sand paper. It is also drop tested – to check its bounce and submerged in water – to check its absorbency.

All this for a simple spherical object that’s kicked around by 22 football players.

Sounds mad as hell...

Imagine Q’s lab from James Bond, but jammed full of robotic legs, running tracks and even a machine that actually sweats. While it may sound odd, this climate chamber can replicate real life conditions and can add in heat, sun and wind. A mannequin with 20 sensors covering its body sweats, testing out how new clothes handle it.

The robotic leg is probably the most famous part of the room. Built of metal and toting a neon football boot, the leg shoots the ball in a specific location over and over again in consistent conditions. This helps determine the durability of the boots and ball and it looks pretty darn cool.

Working on products that are between 3-5 years out and might not see the light of day till 2022, members of the AIT aim to reduces player injuries and make them feel comfortable.

Not just football then?

Not at all. There's a 100m running track, complete with sensors that track freedom of movement and how muscles are straining during exercise.

I want one! When can I buy one of these balls?

Right away! Plus, they’ll be coming in all different sizes and ranges.

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Movie Review: Besharam

Rating: 1.5/5

Until last year, the Top 3 contenders to the throne were the three Khans. The game of musical chairs -- or one-upmanship, as you may choose to call it -- would be limited to these three names. Suddenly, Ranbir Kapoor stepped into the domain with a landslide victory [YEH JAWAANI HAI DEEWANI], challenging the dominance of the three names, forcing the spectators/Studios/film-makers/distributors/exhibitors to look at an all-new competitor. The film industry had finally found the Prince who would take on the mantle, donning the robes of the Pied Piper, attracting spectators in hordes in the domestic as well as international markets. Teaming up with the DABANGG director Abhinav Kashyap only makes Ranbir's immediate outing BESHARAM special. Very special, in fact. The Studio [Reliance] too is gung ho, giving BESHARAM a massive release [4187 screens worldwide]. Will BESHARAM set new benchmarks? Will it go beyond Ranbir's own YEH JAWAANI HAI DEEWANI? Will Abhinav Kashyap hit the pot of gold yet again, after the gargantuan success of DABANGG? Surely, Ranbir and Abhinav's shoulders carry the baggage of expectations like never before...

To start with, the trailers of BESHARAM didn't generate the frenzy that one associates with a biggie. Additionally, the songs did not catch on like Ranbir and Abhinav's earlier films. Besides, the promotional material, for some reason, did not catch the fancy as well...

BESHARAM is Ranbir's first tryst with an out-and-out masala film. A genre that's suddenly caught the fancy of every actor in tinsel town. But, unlike most masalathons, BESHARAM is no remake of a South Indian blockbuster. This one's more like the vintage masala films that we relished in the Bachchan era. With a contemporary tadka, of course. The question is, does BESHARAM work? Unfortunately, it doesn't!

Babli [Ranbir Kapoor], an orphan, is a street smart car mechanic who lives life to the fullest. But he has a heart of gold: He steals cars to support his orphanage. The story takes a turn when he unwittingly hurts the love of his life, Tara [Pallavi Sharda], by robbing her car and selling it to Chandel [Jaaved Jaafrey], who is into the business of money laundering. Babli decides to undo the wrongs in his life, but is it so easy?

Like most masalathons, the premise of BESHARAM is simplistic, but the real test lies in padding the screenplay with gags, punches and moments that would keep you completely enamoured in those 2.20 hours. While BESHARAM does have moments that can be termed pleasurable, the consistency is clearly missing. These moments are sporadic, coming up intermittently, but what takes you by complete surprise is the crude humor that's integrated in the narrative. I mean, one doesn't mind the toilet humor as long as the situation warrants it, but it seems completely forced in this film.

Even the writing hits a rough patch on varied occasions. While the villain's track fits wonderfully in the scheme of things, the love story lacks the spark. Even the chemistry between Ranbir and Pallavi, so vital in a film like this, lacks fire. Again, a few moments between Ranbir and the cops [portrayed by Ranbir's real-life parents, Rishi and Neetu Kapoor] do hold attention, especially Ranbir's outburst in the finale when Jaaved attacks Neetu Kapoor, but the sequences between Rishi and Neetu are, at times, over the top. The action too offers nothing novel. Bashing up multiple people at one go, jumping on a car with splinters flying all across, Rishi getting into the GADAR mode in the climax... it seems like an assemblage of sequences to evoke reactions.

While BESHARAM is a love story at heart, one expects the musical score to be lilting to the core. But the soundtrack disappoints as well. You forget all about the songs the moment you exit the auditorium. Of course, Ranbir tries to add a lot of infectious energy to the compositions, but the soundtrack lacks the quality to reverberate or stay on your lips. The DoP captures the locales and frenzy adroitly.

Post DABANGG, the expectations from Abhinav Kashyap are tremendous. In his directorial debut, Abhinav created characters and chose lines that hold tremendous recall value to this day. But one misses the clever writing in BESHARAM. The screenplay, like I pointed out earlier, is sloppy and the characters too lack the charm to win you over. Even the supporting cast, which has the senior Kapoors teaming up again, lacks the madness that one would've expected.

It is up to Ranbir Kapoor to salvage the show and I must admit, the actor flaunts the attitude all through. He is simply brilliant. The corny lines he mouths, the flashy clothes he wears, the pelvic thrusts in the songs, it's a good departure from the kind of classy roles he has portrayed in the past. Pallavi Sharda looks completely misfit in this role and the pairing with Ranbir lacks the fizz. Rishi Kapoor and Neetu Kapoor, who have worked in several comic capers and masala fares earlier, are effortless, but not memorable. Jaaved Jaaferi leaves a strong impact. It's a joy watching him in a negative role. Amitosh Nagpal, as Ranbir's pal, hams.

On the whole, this film proves the adage 'All that glitters is not gold' absolutely right. BESHARAM is a huge disappointment!

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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

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.”

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

The 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.

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

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?

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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Will the Leap Motion Controller change how we use computers?

Will the Leap Motion Controller change how we use

computers?

The new gadget will let you interact with your computer using gestures – does that mean Minority Report has finally arrived?

The Leap Motion computer controller … the beginning of a revolution? Photograph: AP

When John Underkoffler was designing the interface for the film Minority Report, Steven Spielberg told him it should look like the characters were "conducting an orchestra". Now that's a beautiful vision. The gestural control of the future should not be tiring or bothersome, but elegant and accurate.

As of this week Minority Report has arrived. Or you can pretend to be Iron Man's alter-ego Tony Stark (but sadly without the ability to control multimillion-dollar robots and body armour). Pre-orders of the Leap Motion Controller – which was privately funded and allows you to control your computer using gestures in the air, within a volume of eight cubic feet – are slowly being delivered in the US, and as of Monday it is available in Britain on Amazon.

If you've used a device with a screen in the last few years you'll have noticed that almost everything you click or tap seems to have a conspicuous reaction, something I'm fairly sure we're getting more than a little tired of. Blame the movies – everything has a licence to beep and jiggle in Tony Stark's garage. With the advent of Leap, designers and developers have been forced to return to a simpler time; where that mandatory jiggle and bounce has been toned down in order for users to grapple with a new "interaction paradigm".

The first step with all new technologies is usually the shonkiest; the tech is still very much prototypical. Good enough to spin a sphere, but perhaps not yet to control your diary.

The era of gesture control that will be enabled by Leap tech, and what comes after it, will yield more useful interactions. Siriand, more recently, the successful integration of Voice Search in Google products, are preparing us for the next step in interaction development. As with voice recognition, we should prime ourselves for the inevitable growing pains. Further configurations of these technologies will gradually embed themselves in our lives. But at what price?

• This article was amended on 29 July 2013. The original version said that Leap was funded by Kickstarter investors. This has now been corrected.

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Samsung Dethrones Apple in Smartphone Profits

: Reuters; The Galaxy S4, left, and the iPhone 5.

Apple has fallen off the profit throne.Last quarter, Samsung Electronics made more money selling handsets than Apple for the first time, according to a report by Strategy Analytics.

Samsung’s operating profit for handsets was an estimated $5.2 billion in the second quarter of 2013, according to the report. Apple, meanwhile, had an estimated operating profit of $4.6 billion.

Apple also lost global market share while Samsung made gains. Apple’s share fell to 13.6% from 16.6%, the lowest it has been in three years. Samsung, meanwhile notched a 33.1% global market share, up from 31.1% last year, according to the report. Other research outfits have different tallies for market share. IDC, for example, said Samsung’s market share actually slipped to 30.4% from 32.2% a year earlier, though it still topped Apple’s.

Overall, the numbers highlight the challenges Apple faces from a more competitive handset market in which much of the growth is at the lower end.

Apple’s smartphone shipments grew just 20% in the second quarter, well below the industry average of 47%, according to Strategy Analytics. Samsung shipped a record 76 million smartphones, more than double Apple’s 31.2 million. Samsung was boosted by sales in China of its Galaxy S4 model, the report said. Apple has said it plans to make the iPhone 4 “more attractive” in China, where the company recently saw sales slow.

Apple declined to comment. Samsung didn’t immediately return request for comment.

LG Electronics, meanwhile, made strides. It captured 5.8% market share and was the third largest smartphone vendor for the second consecutive quarter. The Optimus and Nexus devices helped fuel the success, according to the report.

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Movie REVIEW: THE WOLVERINE

REVIEW: 'THE WOLVERINE' IS, FINALLY, A MOVIE THAT IS ACTUALLY ABOUT WOLVERINE

Rating: 3.5/5

Twentieth Century Fox Film

After X-Men Origins: Wolverine turned out to be a bit of a mess, I was equal parts skeptical and hopeful about The Wolverine. I was skeptical for obvious reasons. But I was hopeful because this seemed like a completely different movie that was actually going to tell Wolverine's story without the distractions of mutants flying everywhere and shooting lasers out of their eyes. Thankfully I wasn't disappointed.

The Wolverine is the movie I (and many fans) wanted Origins to be. It takes place some time after X-Men: The Last Stand, when Wolverine (Hugh Jackman) had to kill his love Jean Grey (Famke Janssen). Doing so made him question his whole identity, and that internal struggle is the driving force behind this film.

The movie opens with Wolverine saving a young Japanese soldier, Yashida (Hal Yamanouchi), from the nuclear bomb dropped on Nagasaki. We then flash to the present day, where a full-bearded Logan is living in a cave and is friends with a bear (sort of). After killing Jean, he is afraid of what he's capable of, and he would rather live away from people than risk hurting anyone again. It is only when Yukio (Rila Fukushima), a fiery warrior with equally fiery red hair, finds Logan and tells him that Yashida is dying and wishes to say goodbye that Logan returns to society and heads to Japan. But Yashida actually wants to offer Logan the chance to become mortal again, which only makes it harder for him to acknowledge his true nature.

Once in Japan, Yashida dies and Logan ends up protecting his granddaughter Mariko (Tao Okamoto) from the Yakuza gang and from her father, Shingen (Hiroyuki Sanada). There’s sword fighting, knife throwing, and some ninjas with bows and arrows. In the middle of it all, of course, the claws come out. The action is what the audience loves to see, and it doesn't let us down. And when Logan isn't sticking his claws through some bad guy, he's dreaming about Jean. There's a nice balance between the two that reminds us that, even though Logan has healing powers and an adamantium skeleton, he's also a man who has seen and done many things and is struggling with who he is and who he wants to be.

Twentieth Century Fox Film

It’s been 13 years since Jackman first played Wolverine, and he knows this character inside and out. That comfort level is what makes it so easy for the audience to connect with Logan and his struggle. His brooding, scowling performance brings Wolverine down to a more human level and shows that you can still have an existential crisis even when you’ve been around for hundreds of years.

There is, however, the matter of the Viper (Svetlana Khodchenkova), who takes Logan's healing powers at the beginning of the film. The Wolverine is possibly the most relatable of the X-Men movies, but the Viper brings a heavily melodramatic element to the film. Her costumes are so outlandish as to be laughable, and her main motive seems to be villainy for villainy's sake. She's almost too embedded in the comic book reality for a movie that focuses less on mutants with powers and more on the internal difficulties Logan is facing.

While the first two thirds of the movie deal with human emotions and identity crises, the film does get a bit overzealous in its final act. Wolverine fights the Silver Samurai, a giant made of adamantium, while Viper continues with the melodrama. But all in all, director James Mangold managed to make an entertaining film that gives us more of an insight to Wolverine than we've ever had before. It's a standalone Wolverine film that is actually about Wolverine.

And, true to Marvel fashion, there's an excellent post-credits scene.

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Loud!

Adidas unveils 'Brazuca' World Cup ball!