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Table No 21 Film ~REPACK~ Download

Table No. 21 is a 2013 Indian thriller film directed by Aditya Datt and produced by Eros International. It is named after Article 21 of the Indian Constitution, which talks about the protection of life and personal liberty.[2] The movie features Rajeev Khandelwal, Tina Desai and Paresh Rawal and touches upon the pertinent social issue of ragging. The movie's soundtrack was composed by Gajendra Verma, Neeraj Shridhar and Sachin Gupta.[5] The film performed above average at the box office.[4]

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Critics have praised the story but have criticized the way the issue of ragging is kept under wraps.[6][7] On review aggregator website Rotten Tomatoes, the film holds an audience approval rating of 54% based on 100+ reviews.[8] says that "Table No. 21 keeps you engaged right from start to the finish. If the beginning portions are frothy, middle portions turn thrilling, post-interval is dramatic and ultimately the narrative turns dark before reaching a shocking end."[9] Ankur Pathak of says that "Table No. 21 should be watched for the reactive social commentary that it is and should not be misconceived as a vigilante film." Rated it 3 out of 5 stars.[10] Madhureeta Mukherjee of The Times of India rated the film 3/5 stars.[11] Mansha Rastogi of says that "Table No. 21, although may not be a completely out of the box, never before concept but it's the execution of the story and the acting that makes this film a one-time watch."[12] Prasanth of says that "Table No 21 is an excellent thriller, with a good message." Rated it 8 out of 10.[13] Over the years the movie has been considered a cult movie for its unique concept.

Films like KAHAANI, TALAASH, also most films helmed by Abbas-Mustan had this uncharacteristic quality of keeping the spectator on tenterhooks till the last frame. A taut thriller demands that the spectator stay vigilant, is all eyes and ears as the story unfolds, becomes a participant while the mind games are being played by the characters on screen... TABLE NO. 21, directed by Aditya Datt, which sets the ball rolling in 2013, truly symbolizes a riveting thriller.

It's not just the premise that grabs your attention, but TABLE NO. 21 stands out because it doesn't borrow the formulaic template, nor does it rely on the predictable twists and turns or caricaturist characters to enthrall the spectator. It's clever, engaging and carries a message that hits you like a ton of bricks. Importantly, it's a well crafted thriller that delivers more than what it promised in its attention-grabbing promos.

While the basic premise of TABLE NO. 21 is fascinating, intriguing enough for a suspense thriller setup, the screenwriting packages a series of realistic sequences and episodes that catch you unaware. What starts off as a love story gradually transforms into serious stuff and the suspense and drama plays on your mind even after you've made an exit from the dark auditorium. A slick thriller, the film makes you uneasy [towards the conclusion] due to the stark reality it portrays and that, in my opinion, is one of the triumphs of the film.

Director Aditya Datt pulls off the innovative concept with Ãlan, as the game as well as the back stories leave you gasping for breath. You might draw parallels with some Hollywood movies, but the message it drives home and the way it terminates makes the viewer in you satiated. While one is itching to describe a few sequences and unravel the course of the film during the penultimate stages, it would be unfair on my part to spill the beans. The beauty of the film will be to watch it without knowing anything and absorbing it like a sponge, since it's a film about characters and conflict with a big revelation. I'd like to make a special mention of its writing [story-screenplay: Shantanu Ray and Sheershak Anand; additional screenplay and dialogue: Abhijeet Deshpande], which leaves no scope for loopholes. In fact, like I pointed at the very outset, the writing demands that you stay alert and attentive, else you might lose chunks in the plot. The sole deterrent is its slow pacing in its first hour.

DoP Ravi Walia captures the scenic beauty of Fiji with proficiency. The narrative boasts of just two songs and both fit well in the scenario of things. The background score [Amar Mohile] enhances the impact. The editor [Devendra A. Murdeshwar] has cut the film very well, with not a single sequence overstaying its welcome.

Paresh Rawal gets another author-backed role after OMG - OH MY GOD and though you may label it grey or black on the basis of what you may have witnessed in its promos, the actor sees to it that the character doesn't get stereotypical or hackneyed thanks to his faultless acting abilities. His character changes colors rapidly, like a chameleon changes colors, taking the film to its peak towards the closing stages.

Rajeev Khandelwal's choice of movies is worth applauding. The actor cannot be accused of getting repetitive since his choice of movies has been as diverse as chalk and cheese. The talented actor portrays a complex character in this film and I must add, he gets the part spot-on. A persuasive screen presence and effortless acting consistently makes this character work and how! Tena Desae is a revelation. Extremely photogenic, the character must have been a challenge of sorts for the actress and Tena handles it most courageously and confidently, getting into the skin of her character. Hanif Hilal doesn't get any lines to deliver, but his imposing persona and silence stays with you. Dhruv Ganesh is striking towards the final moments of the film. Asheesh Kapoor is alright.

On the whole, TABLE NO. 21 is a commendable movie-going experience. If you are an extremely choosy moviegoer who watches select first-rate films a year, make sure TABLE NO. 21 is included on your listing. Strongly recommended!

Then, within 10 min, the evaporation rate VMn gradually increased to the stoichiometric value of 0.58 nm/min. At a film thickness of approximately 19 nm, the diffraction pattern contains mainly only lines from a single crystal. This pattern is observed up to 35 nm, after which the rings begin to appear (Figure 2b). This means that with the help of a highly textured buffer layer used, the Mn5Ge3 growth can only be stabilized up to a thickness of 35 nm, after which the accumulated stresses in the lattice lead to the formation of crystallites of various orientations. According to this scheme, sample #2 was made with a thickness of about 30 nm. The RHEED pattern for this sample is shown in Figure 2c. To reduce the stresses in the Mn5Ge3 film, we added three additional buffer layers. For sample #3, after 3 nm at a rate of VMn = 0.2 nm/min and VGe = 0.33 nm/min, a 25 nm layer followed with a uniform rate increase up to VMn = 0.58 nm/min. Further, VMn was increased to 0.8 nm/min for 10 min, which corresponds approximately to 10 nm. Thereafter, VMn decreased to 0.4 nm/min and remained unchanged for 4 h 16 min (approximately 150 nm), during which the RHEED pattern remained as the streaks (Figure 2d). In this case, we were able to stabilize the epitaxy-like growth to relatively large thicknesses.

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