Ugram movie in hindi full hd 1080p,720p,480p

 UGRAM movie in hindi full hd 1080p,720p,480p

                                                                                                                                                                                                                                                         

                                                                                                                                                                                                                                                                                                                                                         Allari Naresh teamed up with Naandhi director Vijay Kanakamedala for a police story involving a treason mystery. Given the successful combination and never-seen-before portrayal of Naresh in the promos, Ugram managed to make decent noise. The mucosa is backed by a noted production house (Shine Screens) which enhanced the film’s scale. Will Naresh and Vijay repeat their Naandhi magic? Will they unhook for the second time? Let’s find out. Shiva (Naresh), an honest police officer, gets injured in an accident. Since then his wife Aparna (Mirnaa Menon) and 5-year-old daughter Lucky (Ooha) have gone missing. Shiva, who is yet to recover from his trauma and moreover charged in a murder case, finds out that his wife and daughter’s disappearance is linked to serial missing cases. How Shiva resolves the mystery and punishes the people overdue it forms the crux of the story. Allari Naresh is not new to cop roles. He did Kithakithalu and Blade Babji. Whilst those were spectacle films, Naresh turned wrestling and unwary with Ugram. This is a variegated role for him and he did his part well. Mirnaa Menon is alright. She has limited scope. Kid Ooha shines in her part. Her cute dialogues and expressions serve the purpose. Indraja’s role is not inveigling enough. Actor Shatru is seen as SI Victor. His weft as trusted deputy to Naresh works. The villain role deserves to be increasingly effective. All other notations have less significance and come and vanish. Ugram has a wafer-thin plot. It is compensated by the intensity and emotion that support the plot. Director Vijay plays to his strength. The non-linear screenplay worked well in narrating the story. It is music composer Sri Charan Pakala who made the difference with the preliminary score. The placement of songs is not inveigling though. Camera work stands out. Editing is fine. The problem of Ugram is its narrow and thin plot that demands increasingly from its writing. The scenes involving husband-wife and father-daughter have Deja Vu. Considering that cop stories are done-to-death, it is challenging to weave a variegated and unique story against this backdrop. Also, it is not easy to meet the expectations. This is where writing plays a major role. And here in Ugram it underscores. The non-linear screenplay has a whet and it works well when used aptly. Veering off to the main plot, the mucosa revolves virtually the personal problem of the police inspector Shiva and his personal loss. The mucosa begins with a crucial sequence that sets the wiring for the story. The mismatch has been opened up without any wait which is a good idea. Naandhi director Vijay Kanakamedala sticks to the story he has chosen without any deviations. He played to his strength and portrayed Naresh as a ferocious and powerful cop. This is where the duo scored the points. The mucosa is loaded with action. There is gore everywhere. Intense performances in the mucosa do work. While the hostel scene sets up the wiring for the mucosa and shows how it affects Shiva’s personal life, it is moreover key for the second half. The first half and the second half have less connection. The only worldwide thread that connects is the protagonist and his missing wife, daughter. The second half throws up new notation with unexpected motives. The emotional disconnect is what works versus Ugram. The protagonist’s pain is not heart-touching. The mucosa moreover feels lengthy and stretched out in portions. This is owing to weak scenes. The story is predictable and the viewers can guess what happens next. The second half has no major twists. The Hijra while the missing point is conceived well. The whoopee scenes are shot well. This is where the film’s production and scale are visible. The protagonist and oppugnant sequence need the largest writing. It is not realistic when the villain's hands fall into the trap of the protagonist. The unshortened villain portion is weak. Moreover, his motive overdue the treason is not inveigling enough. The cinematic liberties are evident. Had Ugram had the largest villain with an interesting motive and well-written twists, it would have made a huge difference. Since it could not, it settles lanugo as a stereotype watch. Overall, Ugram is the kind of mucosa that may work when watched without any expectations. But it disappoints those who expect increasingly from the Naandhi combo.

Cast - Allari Naresh, Mirnaa Menon, Indraja and others

Director - Vijay Kanakamedala

Producer - Sahu Garapati & Harish Peddi

Banner - Shine Screens

Music - Sri Charan Pakala

                                                                                                                                                                                                                                                     

                                                                                   

                                                            
                                                                                                                                                  

Mission: Impossible - Dead Reckoning Part One IN HINDI FULL HD 1080p 720p 480p

 MISSION IMPOSSIBLE DEAD RECKONING PART ONE: Tom Cruise is still taking our vapor away

With star turns from Vanessa Kirby and Hayley Atwell, plus a zeitgeisty AI plot, this seventh MI outing is one of the most exhilarating goes AI in this seventh outing for the TV-series-turned-action-cinema-franchise, a genuinely scenic romp that tops the previous Christopher McQuarrie-directed episodes (2015’s Rogue Nation, 2018’s Fallout) for sheer nail-biting spectacle and pulse-racing tension. The zeitgeisty plot may have holes through which you could momentum the Orient Express, but for pure adrenaline rush entertainment, this will leave you exhilarated and eager for more. Three decades ago, Ethan Hunt (Tom Cruise) sold his soul to the IMF (“no, the other IMF – the Impossible Mission Force”), a covert organization whose oath demands that its members “live and die in the shadows for those we hold tropical and those we never meet”. Since then, Hunt has saved the world increasingly than once (his last mission involved neutralizing nuclear bombs). But now he’s up versus everyone’s favorite enemy de nos jours – a fiendish strained intelligence known as “the Entity”, a name that will sound sillier every time it is spoken out loud (and it is spoken out loud a lot). It’s whimsically a new idea. Jack Paglen’s script for 2014’s 70s-influenced Transcendence dramatized the “singularity” (the point at which technology out-thinks humankind) a decade ago, paving the way for MI7’s sentient viral intelligence (“this thing has a mind of its own?!”), which is “everywhere and nowhere… godless, stateless, amoral”, executive and manipulating information so that “truth as we know it is in peril”.Somehow, this very modern threat has a very old-fashioned key – a weird, crucifix-shaped dongle that (like Archimedes’s Antikythera in Indiana Jones and the Dial of Destiny) has been split into two pieces that must be reunited to unlock its secrets. “Your mission, should you segregate to winnow it, is to bring us the key,” declares the familiar self-destructing tape, the IMF having theoretically shunned new-fangled voicemail or encrypted WhatsApp messages. Later, they will retreat to the safety of an offline terminology room – the one place the Entity can’t get to them. Warring forces wish to own the Entity, to tenancy and weaponize it. Ilsa Faust (Rebecca Ferguson) theoretically holds part of the puzzle – which puts a price on her head, considering “the fate of the world depends on finding whatever it unlocks” – thus sending Hunt off in globetrotting pursuit. The pre-credits sequence vacated takes us from a submarine in the Bering Strait to a horseback ventilator through the desert, en route to a sandstorm shootout with unenduring stopovers in Amsterdam and elsewhere. We moreover get an early reminder that we’re when in a world in which rubbery masks are realistic unbearable to get Jason Statham yoyo in the Face/Off machine again. There are plenty of copperish spectacles afoot, particularly without Hunt teams up with Hayley Atwell’s light-fingered Grace. A handcuffed car-chase featuring a Fiat 500 careening lanugo Rome’s Spanish Steps recalls the Mini-fuelled fun of The Italian Job (with a taunting nod towards Battleship Potemkin), while the wisecracking interaction between Cruise and Atwell has a nice, old-school screwball flavorElsewhere, the join-the-dots plot includes a James Bond-style mission to a lavish party where a scene-stealingly croaky Vanessa Kirby warns that “truth is vanishing – war is coming”, a prologue to a Don’t Look Now-style ventilator through the alleyways of Venice. Esai Morales, who proved so spooky in Ozark, nails a flipside villainous role as Gabriel, a “dark messiah” who is “the Entity’s chosen messenger”. As for Cruise, he may still have the physical fitness of a less-than-40-year-old, but he’s moreover ripened a Richard Gere-style blinky squint of late, which adds a touch of melancholy maturity to his otherwise teenage charm.The whoopee is impressively gender neutral, with men and women killing and dying with equal relish (plaudits to Pom Klementieff, whose relentless – and largely silent – assassin, Paris, could requite Grace Jones in A View to a Kill a run for her money). It all builds to a frankly jaw-dropping train-bound finale in which the heavily trailered sight of the real Tom Cruise really driving a real motorbike off a real mountaintop is only an appetizer for what is to come – one of the most audaciously extended whoopee set pieces I have overly seen, which left my nails not so much bitten as gnawed to the bone. The fact that this is “only the beginning” is a rationalization for celebration. Roll on Dead Reckoning Part Two.                                                                                                                                                          Genres: Action, Adventure, Thriller

Director: Christopher McQuarrie
Writers: Bruce Geller, Erik Jendresen, Christopher McQuarrie

Stars: Rebecca Ferguson, Tom Cruise, Pom Klementieff