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Upon discovering the tomb of a 3,year-old cadaver, a team of British archaeologists inadvertently revive the long dead deity. Now released, the mummy is free to pursue a young woman he believes to be the reincarnation of his long-lost love, Princess Anck-es-en-Amon. Somewhat tame in the fright stakes, The Mummy is in many ways most successful as an epic, century-spanning romance, rather than as a traditional horror film although the subtextual dabblings in necrophilia do maintain the power to shock.

After moving into a mansion with a reportedly tragic history, a man becomes obsessed with the beautiful ghost of a former resident. Like a Hindi retelling of The Ghost and Mrs.

Muir , this romantic fantasy is rooted in a gothic tradition and does boast the occasional spooky moment, although it is by no means a film designed to instil terror in its viewer. Perhaps more fittingly described as a supernatural suspense drama rather than an out-and-out horror film, Mahal is a work of exquisite beauty, its unhurried approach allowing us to wallow in the ethereal elegance of its central romance and haunting melodies of its celebrated songs.

Not for the faint of heart or delicate of stomach , the film tells the story of a wealthy taxidermist who is left devastated by the death of his girlfriend at the voodoo-practicing hands of his maniacal housekeeper. Naturally, a whole host of horrors ensue. Repeatedly banned and censored since release, this is a sleazy and often downright nasty piece of work, which despite the viscera on screen, is also a highly affecting study of deranged and unruly love.

They say that romance is dead. This one proves it. While working on a revolutionary teleportation device, brilliant but reclusive scientist Seth Brundle begins a love affair with journalist Veronica Quaife. But when an experiment goes horribly wrong, Seth begins a monstrous transformation which Veronica is powerless to stop. Theorists have read the film as an allegory for addiction or a reaction to the Aids epidemic of the s, but The Fly is perhaps most eloquent in its depiction of the agonies of love and the crushing disintegration of a relationship.

Hart did take one or two narrative liberties, most notably in the relationship between Count Dracula and his beloved Mina. While Stoker made no reference to a history between the pair, the film has Mina as the reincarnation of his dead wife Elisabeta.

As such, while previous incarnations of the count have positioned him as a saucy lothario, happy to neck whatever young beauty might cross his path, Coppola has him as a hopeless romantic, driven by his heart rather than his fangs, and forever yearning for the love he once lost. While this added plot point might seem a harmless addition, it does fundamentally alter the entire text, making Dracula a figure to sympathise with as opposed to fear.

Our killer this time is Daniel Robitaille, better known as Candyman, the son of a slave who was executed for impregnating a wealthy white woman during the American civil war. Years later, Candyman has become the stuff of urban legend, a hook-handed killer who supposedly appears if you repeat his name in a mirror. And among all this is Candyman himself, an endlessly tragic figure who was destroyed by love, and will stop at nothing to find it again.

Having witnessed a government operation in which the dead are being brought back to life, a grieving young man breaks into the secret laboratory to re-animate his recently deceased girlfriend. Unfortunately, her return brings with it a newfound appetite for human flesh. But has there ever been a pair of killers more deranged, more wild and more crazy in love than Chucky and Tiffany?

Although the basic premise is far-fetched, what makes the film so refreshing is the interaction between the diminutive lovers; like any regular couple they share similar hobbies and interests, they bicker and make up, and in one truly eye-popping scene, they even have sex. So rarely has romantic yearning and carnal attraction been rendered with such ferocity and frenzied immediacy. Her life seems to take a positive turn when she befriends a sociopathic army vet named Nate, but a series of tragic events soon end in destruction and violence.

Pulling no punches in its harsh depiction of unconditional love in a hopeless world, this often gruelling experience consistently takes its viewer off guard. Part love story, part revenge thriller, with a dash of slasher thrown in for good measure, Red, White and Blue may appear an unrelentingly bleak piece of work, but it is one that never stops believing in the redemptive powers of love, and hides a huge heart that beats beneath its brutal surface.

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SHOWGIRLS (1995) FULL HOLLYWOOD MOVIE IN HINDI



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Upon discovering the tomb of a 3,year-old cadaver, a team of British archaeologists inadvertently revive the long dead deity. Now released, the mummy is free to pursue a young woman he believes to be the reincarnation of his long-lost love, Princess Anck-es-en-Amon. Somewhat tame in the fright stakes, The Mummy is in many ways most successful as an epic, century-spanning romance, rather than as a traditional horror film although the subtextual dabblings in necrophilia do maintain the power to shock.

After moving into a mansion with a reportedly tragic history, a man becomes obsessed with the beautiful ghost of a former resident. Like a Hindi retelling of The Ghost and Mrs. Muir , this romantic fantasy is rooted in a gothic tradition and does boast the occasional spooky moment, although it is by no means a film designed to instil terror in its viewer. Perhaps more fittingly described as a supernatural suspense drama rather than an out-and-out horror film, Mahal is a work of exquisite beauty, its unhurried approach allowing us to wallow in the ethereal elegance of its central romance and haunting melodies of its celebrated songs.

Not for the faint of heart or delicate of stomach , the film tells the story of a wealthy taxidermist who is left devastated by the death of his girlfriend at the voodoo-practicing hands of his maniacal housekeeper. Naturally, a whole host of horrors ensue.

Repeatedly banned and censored since release, this is a sleazy and often downright nasty piece of work, which despite the viscera on screen, is also a highly affecting study of deranged and unruly love.

They say that romance is dead. This one proves it. While working on a revolutionary teleportation device, brilliant but reclusive scientist Seth Brundle begins a love affair with journalist Veronica Quaife. But when an experiment goes horribly wrong, Seth begins a monstrous transformation which Veronica is powerless to stop. Theorists have read the film as an allegory for addiction or a reaction to the Aids epidemic of the s, but The Fly is perhaps most eloquent in its depiction of the agonies of love and the crushing disintegration of a relationship.

Hart did take one or two narrative liberties, most notably in the relationship between Count Dracula and his beloved Mina. While Stoker made no reference to a history between the pair, the film has Mina as the reincarnation of his dead wife Elisabeta. As such, while previous incarnations of the count have positioned him as a saucy lothario, happy to neck whatever young beauty might cross his path, Coppola has him as a hopeless romantic, driven by his heart rather than his fangs, and forever yearning for the love he once lost.

While this added plot point might seem a harmless addition, it does fundamentally alter the entire text, making Dracula a figure to sympathise with as opposed to fear. Our killer this time is Daniel Robitaille, better known as Candyman, the son of a slave who was executed for impregnating a wealthy white woman during the American civil war.

Years later, Candyman has become the stuff of urban legend, a hook-handed killer who supposedly appears if you repeat his name in a mirror. And among all this is Candyman himself, an endlessly tragic figure who was destroyed by love, and will stop at nothing to find it again. Having witnessed a government operation in which the dead are being brought back to life, a grieving young man breaks into the secret laboratory to re-animate his recently deceased girlfriend. Unfortunately, her return brings with it a newfound appetite for human flesh.

But has there ever been a pair of killers more deranged, more wild and more crazy in love than Chucky and Tiffany? Although the basic premise is far-fetched, what makes the film so refreshing is the interaction between the diminutive lovers; like any regular couple they share similar hobbies and interests, they bicker and make up, and in one truly eye-popping scene, they even have sex.

So rarely has romantic yearning and carnal attraction been rendered with such ferocity and frenzied immediacy. Her life seems to take a positive turn when she befriends a sociopathic army vet named Nate, but a series of tragic events soon end in destruction and violence.

Pulling no punches in its harsh depiction of unconditional love in a hopeless world, this often gruelling experience consistently takes its viewer off guard. Part love story, part revenge thriller, with a dash of slasher thrown in for good measure, Red, White and Blue may appear an unrelentingly bleak piece of work, but it is one that never stops believing in the redemptive powers of love, and hides a huge heart that beats beneath its brutal surface.

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  1. As such, while previous incarnations of the count have positioned him as a saucy lothario, happy to neck whatever young beauty might cross his path, Coppola has him as a hopeless romantic, driven by his heart rather than his fangs, and forever yearning for the love he once lost. But has there ever been a pair of killers more deranged, more wild and more crazy in love than Chucky and Tiffany?

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