In celebration of the 2015 Halloween season, we've collected and ranked 100 of the best horror movies of the 2000s.Filmsite.org's Tim Dirks spotlights 100 movies that had moviegoers talking. Which one is really the most shocking to you? Showbiz's CRITICS' Picks: The 100 Best Movies of All Time. The films chosen for this list were limited to English language films made since the birth of. The 1. 00 Best Horror Movies of the 2. So Far)5. 0. Anti- Christ. IFC Films. It was easy to predict that Lars von Trier would approach his horror project Anti- Christ with some non- standard twist, but it’s hard to imagine anyone could expect the indescribable experience of watching this film. Willem Dafoe and Charlotte Gainsbourg are two of the most powerful screen performers of this or any time, and that is measurable in their commitment to their performances as a mourning couple seeking healing in the woods, under the influence of some darkly destructive forces. Von Trier’s horror, like his sadness, is a thing of power, Biblical, unnerving, and unshakable. We Are What We Are. Entertainment One. Jim Mickle’s remake of Jorge Michel Grau’s Mexican film, Somos lo que hay, is one of those horror films that’s more effective the less the viewer knows about its plot beforehand. Moody and unhurried, the film paints a sad portrait of this particular family’s values. With quietly intense performances by its lead actors, and a stunning finish, We Are What We Are finds the subtlety in shock value. The Taking of Deborah Logan. Eagle Films/Millennium Entertainment. The most innovative thing about Adam Robitel’s as- yet underseen 2. But it isn’t so much just how strictly how it adheres to proven standards, but in how many of those standards it employs. The Taking of Deborah Logan manages a dozen different forms of fear, without ever feeling imbalanced. At any given time, viewers might find themselves shocked or creeped out or even psychologically shaken. There’s a lot of orneriness in Michael Dougherty’s compilation film, a sense of smirking delight that holds through each of the film’s chapters. There’s a spiritedness to this seasonal film that is slowly taking hold of the horror community and, for a growing cult following, the film is deservedly supplanting the films that carry the holiday’s name as the singular best Halloween movie. We Are Still Here. Dark Sky FIlm. Ted Geogehan enlisted Horror Royalty when he assigned Re- Animator star Barbara Crampton to the role of mourning mother Anne Sacchetti. He proceeded to construct a haunted house film that directly recalled the work of legendary Lucio Fulci. Crampton turned in an astonishingly emotional performance of quiet weight, and the film itself earns its inspirational company through the sort of pacing uncanny for a first time director. The ghost work here is unsettling in its basic- ness, and the score stands with the best in the horror business. Dog Soldiers. Path. Despite its B- movie aim, Marshall’s werewolf vs soldiers film is given dramatic weight by the gravitas of its lead actors. Marshall’s ability to stage memorable battles makes the film a worthwhile addition to the . But it’s the complexity of the characters, and the distinct personalities of each, that makes Dog Soldiers such a gripping and rewarding experience. Be My Cat: A Film for Anne. Screenshot Courtesy Adrian Tofei. Both our review of Be My Cat: A Film for Anne and our interview with Director Adrian Tofei touch on the danger of the project and its auteur. While the film is currently premiering at a number of horror festivals, gaining traction and buzz, it is very likely that early audiences are going to be bothered by the realness of the screen. Some have already confusedly perceived the dark events as having actually happened. But even beyond that, the dangerous precedent set by Be My Cat and the director’s approach to film is more pointedly aimed at the cinematic form. Tofei is aiming for an entire new film language and philosophy, a way to approach stories while eliminating the disconnect of our mind’s recognition of typical narrative tells. Perhaps this is why the closing exchange between the movie’s last intended victim and her would- be killer offers an exploration of the Final Girl stereotype that is as fresh as either of the films named for the trope that were released the same year. Starry Eyes. Snowfort Pictures/Parallactic Pictures/Dark Sky Films. Taking a page from Rosemary’s Baby, Kevin K. But what starts as a psychological slow- build that creates kinship between the audience and the lead quickly moves into body horror and copious amounts of blood. The film incorporates elements of ’7. Old- Hollywood studio system and the independent film circuit. Kairo (Pulse)Toho Company. Many will remember the Kristen Bell- led American remake as yet another goofy attempt at stealing the cult success of J- horror through English- language remake, but the original film is at once a deliberate look at technology enhanced loneliness, a modernized take on the traditional ghost story, and a haunting, convincing vision of an abrupt apocalypse. Singular scenes are unnerving in the mournful vision of spiritual revisitation, but it’s the collective vision that does the frightful damage here. This is a film tied deliberately to a specific instant in technological history, the horror movie that touched all the right nerves of a very precise moment. Stoker. Fox Searchlight Pictures. Park Chan- wook’s 2. Chan- wook is a student of the art form who unleashes his learning as an expression of rebellion. He recalls Hitchcock, only to obliterate the obvious comparison in the second act. He constructs a vampire movie then obfuscates it in narrative shadows. And Mia Wasikowska’s performance as young, menacing India is predictive of an undeniable rising star. Session 9. Universal Pictures. Brad Anderson’s Session 9 is proof that the right setting, set, pieces can carry a story a very long way. That isn’t to take anything away from the movie’s intense ensemble cast, as each performer carries the material a long way. In the end, Session 9 takes a turn that would be ruinous for a standard movie, but there, the twist sits atop an already strong narrative and reinforces rather than erases what we know and feel for established characters. Backcountry. IFC Films. Bears are terrifying and they will tear you apart. Okay, so while this isn’t always true, Adam Mac. Donald makes a convincing argument otherwise in his survival horror film, Backcountry. With standout performances from both leads that quickly dismiss survival man machoism, the use of a real bear (!), a mounting sense of doom, and perhaps the most grisly animal attack scene ever put on film, Backcountrycaptures the full ferocity of nature. Even if it doesn’t haunt your dreams, it will make you think twice, and then again, about venturing off the trail. American Psycho. Lions Gate Films. While Mary Haron’s adaptation of Bret Easton Ellis’ novel is more often viewed as a black comedy than a horror film, there’s a convincing argument to be made that there are few things more frightening than a total lack of empathy and conscience found in those who handle our financial well- being. Like another film of its era (Fight Club), American Psycho is often celebrated for questionable reasons by those who consider it a way of life. While there are certainly aspects of the film that are humorous and quotable, American Psycho’s cold disinterest in humanity make it a film that shows only a cursory interest in its impenetrable characters who cast the illusion of being a human beings. These empty things dressed up in human form, Patrick Bateman and his kind are entrusted with the security of what our nation holds in highest esteem, which raises the question of whether they created America or if America created them. Holding more in common with Frankenstein than Hitchcock’s Psycho, American Psycho’s horror lies in its larger creation of monsters both on and off- screen. Dark Water. Buena Vista Pictures. After the success of Ringu, Hideo Nakata returned to deliver another exceptional example of J- horror. While J- horror films are frequently criticized for their rather muddled plots and dull set designs, Dark Water is not only accessible and emotionally powerful, but its set becomes a character in its own right.
Nakata delivers a film that is more depressing than frightening by opting to make the ghostly antagonist relatable in her dependency and need for a mother. In the halls of a run- down apartment building, Dark Water presents a frightening custody battle where natural ownership pales in comparison to supernatural power. Byzantium. IFC Films. Neil Jordan’s underrated vampire gothic delivers a mother- daughter story that uses familiar vampire tropes to explore the horrors of feminism and class in two European eras. Where sex, romance, and misogyny are integral elements to vampire lore, here they are given a weight and outcome that asks viewers to question why these elements are so important to the genre. Gemma Arterton and Saoirse Ronan make for convincingly troubled vampires, but Sean Bobbit’s German Romantic- inspired cinematography is the true star. The Nightmare. Gravitas Ventures. Rodney Ascher’s 2. But, because Ascher simply illustrates the testimonies and never disrupts with expert medical explanation or narrative counter- balance of any sort, the psychological trauma of the condition’s sufferers becomes almost contagious for the viewer. The disrepair of the patients is measurable and terrifying. For the viewer, the human mind’s potential for betrayal is just as frightening as the material of more supernatural films. But for those suffering through the betrayal, it is indistinguishable. So, when The Nightmare makes the offhanded suggestion that thinking about and knowing of sleep paralysis may enhance one’s chances of experiencing it, the fear is as intense and obsessive as any offered by more traditional horror. Ginger Snaps. Motion International. Before Ginger Snaps, werewolf movies just didn’t work. Really, they have succeeded rather infrequently since. Ginger Snaps earns its anomalous status as a fun, entertaining, and intelligent werewolf film by way of its feminist embrace of the lunar cycle metaphor and by allowing a rather exceptional character struggle to unfold within the boundaries of the legend. The Visit. Universal Pictures. The 3. 0 Best Horror Movies Of All Time. Almost as long as there has been cinema there have been horror movies. While the genre is often branded with the stigma of being low- brow, cheap, and only for hardcore fans of jump scares and gore, it is also responsible for some of the greatest films of all- time, and certainly many of our favorites fall somewhere along the horror spectrum. Just as there are trashy, forgettable, throwaway horror films every year, there are also those that that play upon our greatest fears to create tension, an ominous atmosphere, and to terrify us to our very core. The history genre is full of monsters, both human and otherwise, horrific events, and chilling scenarios that thrill us, scare us, keep us on the proverbial edge of our seats, and stick around to haunt our nightmares long after we leave the theater. The list that follows is Cinema Blend’s definitive, once- and- for- all comment on the greatest horror movies ever made, though we can’t help but wish there was room for 5. Will you agree with all of our choices? Probably not, but we’re willing to bet that some of your favorites made the cut. Friday The 1. 3th. A franchise most known for it’s hulking, un- killable, hockey- mask- wearing, machete- wielding villain Jason Voorhees, it’s easy to forget that this iconic antagonist isn’t really a part of Sean Cunninghams’s 1. Along with the likes of Halloween and Texas Chainsaw Massacre, Friday the 1. Full of tension and shocks and a very young Kevin Bacon getting speared through the neck, Friday the 1. Shaun Of The Dead. Shaun of the Dead is the one movie on this list that works as a comedy first and as a horror second, but it does both so exceedingly well that there was no way this slice of fried gold could be ignored. From the minds of star Simon Pegg and director Edgar Wright, 2. Shaun of the Dead gave the zombie genre the . With homages galore and weapons ranging from rifles to cricket bats to the Batman soundtrack on vinyl (but not Purple Rain), the movie wisely balances the narrative spotlight between imaginative zombie kills and the pub- loving Shaun fighting to keep his life from spiraling away. As quotable as it is blood- soaked and hilarious, Shaun of the Dead is boosted by a stellar supporting cast of talented Brits, including Bill Nighy, Dylan Moran, Kate Ashfield and Lucy Davis (among many others). Fuck- a- doodle- do, this movie is fantastic. Suspiria. With the giallo subgenre, Italian filmmakers put their own unique, memorable stamp on horror. None of them left quite the mark that Dario Argento did, and none of his impressive body of work stands quite as tall as 1. Suspiria. When an American ballet student enrolls in prestigious German dance academy, she finds much more than she bargained for, as sinister supernatural forces leave a trail of violent, grisly murders. Glossy and blood- spattered, Suspiria is visually stunning—a virtual nightmare captured on film—violent, shocking, and with a score by the legendary prog rock band Goblin, the finished product is a hallucinatory sensory overload. And I mean that as the highest compliment. Repulsion. With movies like Knife in the Water and Rosemary’s Baby, Roman Polanski has shown that you don’t necessarily need monsters and jump scares to make a truly terrifying film. Case in point: his first English- language feature, 1. Repulsion. Starring Catherine Deneuve, the story follows her character, Carol, a woman repulsed by all things sexual, who, when her sister leaves her alone for a holiday, comes unwound, sinks into a depression, and is tormented by horrific visions and hallucinations, all of which culminate in shocking real- world violence. Repulsion is widely regarded as one of the all- time greats in the realm of psychological horror, and that acclaim has rightly remained for more than half a century. Don’t Look Now. When a married couple (Donald Sutherland and Julie Christie), attempting to come to terms with the death of their young daughter, travel to Venice, they’re haunted by a series of mysterious occurrences and reminders of death after an encounter with two elderly sisters comes with warnings from beyond. Clearly wearing Hitchcockian influences on his sleeve, Nicolas Roeg’s 1. Don’t Look Now employs occult sensibilities, explores the impact of grief on a relationship, and delivers a chilling, menacing story, tinged with melodrama and the supernatural, that sticks with you long after watching. Psychologically and thematically dense, it’s an examination of the human psyche as filtered through the lens of a tense, tight horror thriller. The Thing. Like many great horror movies, the ones that endure over the years, John Carpenter’s 1. The Thing From Another World, The Thing, was initially dismissed by most critics as being nothing more than an excessive gross- out schlock film. However, in the decades since its release, it has been reappraised and become recognized as one of the great offerings of the genre. A jagged sci- fi thriller that continually creates a tense, taut atmosphere of paranoia and doubt, The Thing follows the rugged crew at an isolated Antarctic research facility as they’re besieged by an alien presence that can assume the form of anything it touches. Playing to gut- level fears and using grotesquely memorable practical creature effects, this is Carpenter, one of the masters of horror, working at the very top of his game. And the ambiguous ending is still the subject of great conversation and debate. Days Later. No one can argue that George A. Romero is the godfather of zombie movies, but with 2. Days Later, director Danny Boyle became the cool uncle of zombie movies that would show up with a case of beer and a couple of sledgehammers. Headed by Cillian Murphy at his most hypnotic, and from a script penned by future Ex Machina filmmaker Alex Garland, 2. Days Later technically replaced the undead kind of zombies with fast- moving abominations fueled by a rage virus, but it still fits into (and sits near the top) of the subgenre. What starts as a stunning and contemplative look at a London mostly devoid of people turns into a rapidly worsening slide into terror as Murphy’s Jim and his fellow survivors come face to face with the somewhat predictable but still hideous outcome of such a population- depleted planet. Winning performances from Naomie Harris, Brendan Gleeson and Christopher Eccleston only add to its superiority. Scream. In the current landscape, it’s practically impossible to have a horror movie that doesn’t have meta, self- referential elements. You can thank horror master Wes Craven and his 1. Scream for that. As annoying as this trope has become in recent years, as handled by Craven, Scream was a game changer. Using comedy, a whodunit- style mystery, and every slasher clich. Beyond any academic praise you want to heap on the film, at the same time Scream is all of these things, it’s also a great horror film, one that is inventive and funny and harrowing all at the same time. The Blair Witch Project. Similar in spirit (if not style) to producer/director William Castle’s attempts in the 1. The Blair Witch Project was bolstered by fairly extensive pre- release buzz that sold the central story of three missing documentary filmmakers as genuine truth. It’s safe to say that approach was effective, as the film eventually grossed almost $2. At that point, . By choosing indirect and abstract scares to keep viewers unsettled, and letting . Rarely has a less- is- more strategy panned out so successfully. Invasion Of The Body Snatchers. An argument can be made that only bad films should get the remake treatment, but 1. Invasion of the Body Snatchers is a monolith of an exception. Perhaps it isn’t better in every way than the 1. Jack Finney’s novel), but it’s one hell of a lot more effective as a horror film. Kicking off a solid run of films for director Philip Kaufman, Invasion of the Body Snatchers is the pod people movie to rule them all, and its legacy is cemented by stars Donald Sutherland, his mustache, and Brooke Adams (not to mention Jeff Goldblum and Leonard Nimoy), as well as some of the most fabulously disgusting special effects of the decade. The film also exhibits its 1. Or wherever you want to call that psyche- shattering mutant dog. A Nightmare On Elm Street. The only franchise I can recall that made jumping rope unnervingly creepy, the Nightmare on Elm Street films remain championed more than most genre series for never fully settling into haphazardly conceived dreck. And it all started with Wes Craven’s 1. Freddy Krueger. Everything a horror fan could hope for is in A Nightmare on Elm Street. Freddy is the greatest movie monster of all time, the cast (including an infant Johnny Depp) is perfect, the backstory is chilling and the kills. Freddy’s glove is a masterpiece of weaponry, but this movie’s best deaths were Tina’s, in which her bleeding body is dragged all over her bedroom’s walls and ceiling, and Glen’s, whose murder results in a wonderful geyser of blood shooting up from his bed. Depp’s character said it best: . Baseball bats and boogeymen. Bride Of Frankenstein. When Bride of Frankenstein was first released in 1. Internet where people could argue over the value of movie sequels. Acclaimed but not entirely beloved upon its release, James Whale’s follow- up to his own 1. With Ernest Thesiger eagerly welcomed as Henry Frankenstein’s former mentor Doctor Pretorius, Bride of Frankenstein tells the ghastly next chapter in the story of Henry and Boris Karloff’s Monster, treating viewers to visual and aural splendor for a grisly tale that climaxes in the creation of the Monster’s Bride, played with magnificence by Elsa Lanchester and her unforgettable hair. The Bride is sadly only in the movie for a brief period, but her . One can only wonder what the film would have been like had it not been a big target for censorship. Evil Dead 2. Rare is the sequel that surpasses its predecessor in almost every way, but hail to the king of modern horror follow- ups, baby.
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In the end, one is named . The series was created by John de Mol, who serves as executive producer along with Mark Burnett, Audrey Morrissey, Jay Bienstock, Lee Metzger and Chad Hines.
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She, like Invisible Woman, can spoof security cameras, but Widow also has the acrobatic skill of Captain America, which enables her to access remote areas of the levels, and the brains of Tony Stark, which lets her use certain consoles that would be off limits to other heroes. Throw in a gun, and you've got a very useful character made up of a number of different power sets. Storm and Thor, for instance, can both use electricity to power up stations, but Thor can smash open walls while Storm can put out fires. Even though there are only maybe a couple dozen powers to share among them all, the various combinations of powers ensures that no one feels entirely redundant. You will get a few power sets that seem a bit out of place; Captain America's ubiquitous shield switches seem a little arbitrary, as does the notion that Wolverine should be really good at digging and climbing. There are also a few that make sense but aren't particularly well implemented. The special sixth sense shared by characters like Spider- Man, Wolverine, and Daredevil is really more for recognizing what walls you can climb than for keeping those characters out of danger. I finished the main campaign in under 1. I've been coming back to collect extra characters and bricks for days after. In between missions, there's a massive open- world map of Manhattan to explore, from the Statue of Liberty and Battery Park to the X- Mansion up past Harlem. There's also the massive SHIELD Helicarrier floating over the East River. The city has loads of attractions, complete with characters to collect and challenges to beat. Over the course of the side missions, you'll help Heimdall take out frost giants on the docks, battle Sentinels in the streets, or take control of a neglectful boyfriend's mind and make him climb the Empire State Building to apologize to his girlfriend. Experienced gamers won't find many of the open- world puzzles and challenges to be much of a contest; for the most part, you'll simply need to identify the type of task you're facing and then just go hit the right steps in the right order. It's clear that the challenges are aimed at LEGO’s young demographic, so gamers craving a challenge will be let down here. Still, if the allure of putting Daredevil on a motorcycle and having him race Ghost Rider through the Upper West Side sounds fun, the difficulty is sort of incidental. The rare exceptions are the timed challenges, or those that require you to search out objectives that aren't in the immediate vicinity of the challenge. The biggest pain is the inconsistent, confusing flight system. It attempts to use the same control scheme from the missions where the up and down motion of the thumbstick moves your character toward or away from the camera. Now you'll use face buttons to control the pitch of your character's flight. 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Gaddi kaali kaali teri gali vadd’da. Bache bache vich hit kudiyan da Brad Pitt. Munda jattan da janwaai tu bana le ghar da(Ghar’da.. You n Me - A Thrilling Love Story. Punjabi cinema - Wikipedia. Punjabi cinema (Punjabi: . While 2. 0th- century Punjabi cinema had great influence of Pakistani- based Punjabi cinema, the 2. Punjabi cinema, due to its boom, has become synonymous with the Indian state of Punjab. The first Punjabi film was made in Calcutta (now Kolkata) and was released in Lahore, provincial capital of the then- British province of Punjab. The Lahore film industry is known as Lollywood, a portmanteau of the words Lahore and Hollywood. As of 2. 00. 9, the Punjabi film industry has produced between 9. In 1. 99. 5, the number of films released was 1. Since the 2. 00. 0s Punjabi cinema has seen a revival with more releases every year with bigger budgets, homegrown stars, and Bollywood actors of Punjabi descent taking part. First film. Though the titles were in English but the presentation, story, plot and culture presented in these films belongs to Punjab and Punjabiat. Mehra made the first Punjabi . Sheila was made in the city of Calcutta (now Kolkata) and released in Lahore. It ran very successfully and was a hit across the province. Mehra made his second film, Heer Sial (1. M. M. Billoo Mehra. This film had Noor Jehan and new artists Balo and M. The film was commercially successful. Studios opened up and many artists, producers, directors, and technicians from Bombay and Calcutta shifted to Lahore. Prominent names were Shanta Apte, Motilal, Chandra Mohan, Hiralal, Noor Jehan, Mumtaz Shanti, Wali, Syed Attahullah Shah Hashmi, Krishna Kumar, and Shanker Hussain. Baldev Raj Chopra, later known as a director, got started in the movie industry in Lahore, where he ran a film magazine called the Cine Herald. Ramanand Sagar, also later a director, was associated with the Evening News. Syed Attahullah Shah Hashmi worked for the film newspaper Adakar. Punjabi partition. West Punjab became part of Pakistan and East Punjab became part of India. This affected Punjabi cinema because most Muslim artists and directors moved to Pakistan, and worked in Lollywood, while Sikhs and Hindus moved to Bombay. Attempts were made to keep Punjabi cinema alive in this period. Filmmakers made films like Posti, Do Lachhian and Bhangra with some success but were not able to revive Punjabi cinema. Songs from the films would run for months and years on the radio resulting in a long- term audience for the films. One of the hit comedies was Mulkh Raj Bhakhri's Bhangra (1. Sundar and Nishi. It was remade by director Mohan Bhakhri as Jatti in 1. Mehar Mittal and Aparna Chowdhry, and it was again a commercial success. The music from the film was by Hansraj Behl with lyrics by Verma Malik. Songs sung by Shamshad and Rafi like . Johnny Walker (1. The big- budget romantic Punjabi film by director Padam Prakash Maheshwary, Satluj de Kande, was released in 1. This film starred Balraj Sahni, Nishi, Wasti, and Mirza Musharraf, with music by Hansraj Behl. This was the only Punjabi film starring Balraj Sahni. It was a major hit and earned a National Film Award. Satluj de Kande was telecasted three times on the public TV channel Doordarshan in India. In 1. 96. 9 the religious film Nanak Nam Jahaz Hai starring Prithviraj Kapoor, I. Johar, Vimmi, Som Dutt, Nishi, Suresh, and David Abraham was released. The film was the first really major successful Punjabi film in post- independent India, with a major cultural impact on Punjabi Sikhs at home and abroad, and is credited with the revival of the Punjabi film industry in India. People stood in kilometre- long lines to buy a ticket for the film. After the success of Nanak Nam Jahaz Hai, films were released in huge numbers. Hindi actors of Punjabi descent became interested in Punjabi films. Kankan De Ohle (Dharmendra, Asha Parekh and Ravindra Kapoor) and Nanak Dukhiya Sab Sansar (Dara Singh, Balraj Sahni, Ram Mohan and Asha Sachdev) were released in 1. In 1. 97. 2, Dara Singh starred with Prithviraj Kapoor in Mele Mitran De. Man Jeete Jag Jeet, a religious film starring Sunil Dutt, Radha Saluja and Ranjeet, was a major release of 1. In 1. 97. 4, Do Sher (Dharmendra and Rajendra Kumar), Bhagat Dhanna Jatt (Dara Singh and Feroz Khan), Sacha Mera Roop Hai (Manmohan Krishan) and Dukh Bhanjan Tera Naam (Shaminder Singh and Radha Saluja) were released. The most successful was Dukh Bhanjan Tera Naam, due to the wide appeal of its religious historical setting and appearances by Bollywood actors including Sunil Dutt, Rajendra Kumar, Dharmendra, Johnny Walker, Ranjeet and Dara Singh. Many films were released in 1. Daaj, Giddha, Main Papi Tum Bakhshanhaar, Papi Tarey Anek, Santo Banto, Sardar- E- Azam, Sawa Lakh Se Ek Ladaun, Taakra, and Yamla Jatt. Sawa Lakh Se Ek Ladaun was the biggest hit and starred Dara Singh in the main lead; Rajesh Khanna made a special appearance as the Qawal. The film ran into conflict with the Sikh political parties as the film had Fauj- i- Khas soldiers wearing fake beards. The year 1. 97. 7 was not a major one for the Punjabi film industry. Jai Mata Di, Saal Solvan Chadya, Sat Sri Akal, and Shaheed Kartar Singh Sarabha were released, amongst others. Saal Solvan Chadya was a highlight because of the cameo appearance by Rekha. Sat Sri Akal was another hit film. It starred Sunil Dutt, Shatrughan Sinha, and Premnath. In 1. 97. 8 Udeekan, Dhyani Bhagat, Jai Mata Sheranwali, and Jindri Yar Di were released. The drama Udeekan was a hit. Walayati Babu, the first ever remake in Punjabi cinema, was released in 1. The film was remade from the Punjabi film of the same name by Johnny Walker; it featured a special appearance by Amitabh Bachchan and Mehar Mittal played the main lead. Guru Manio Granth, Jatt Punjabi, Kunwara Mama, Sukhi Pariwar, and Til Til Dalekha were released. The religious film Guru Manio Granth was an instant hit. Jatt Punjabi had a big cast and a special appearance by Manoj Kumar. Til Til Da Lekha starred Rajesh Khanna as the main lead hero and Mehar Mittal played the comedian's role; the film became a golden jubilee hit at the box office. Til Til Dalekha was the second Punjabi movie of Rajesh Khanna and his first film as the lead hero in Punjabi films. It won the Punjab State Government award for best story writer and second best feature film of 1. The first Punjabi mystery film, Vangaar (The Challenge), was released but it failed to become a hit. Chann Pardesi, the first Punjabi film to win the national award, was released in 1. It starred Raj Babbar, Rama Vij, Amrish Puri, Om Puri, and Kulbhushan Kharbanda. Fauji Chacha had veteran Bollywood actor Sanjeev Kumar in the lead. A remake of Mulkh Raj Bhakhri's 1. Bhangra came out in 1. Mohan Bhakhri. The film was titled Jatti, and starred Sundar, Nishi, Mehar Mittal, and Aparna Chowdhry. As with the original, the remake was a tremendous success. This film had Veerendra in the lead role. Two major releases of 1. Ucha Dar Babe Nanak Da and Sarpanch. The former was a religious film that established Gurdas Mann as a star. Sarpanch starred Veerendra. In 1. 98. 3, many movies were released, with Putt Jattan De being the biggest commercially. Veerendra had another hit in 1. Yaari Jatt Di. This was the first Punjabi film to have more than half its footage shot in the United Kingdom. Mamla Garbar Hai was a hit for actor Gurdas Mann. The film's songs were especially loved. Two hit films of 1. Mohammad Sadiq's Guddo and Veerendra's Vairi. Long Da Lishkara was the big hit of 1. Raj Babbar, Gurdas Mann, Om Puri, and Nina Deol. In 1. 98. 7 Veerendra starred in Patola and Jor Jatt Da. Punjab was shaken with the assassination of Veerendra by gunshot during the filming of Jatt Tey Zameen. The death opened the door for supporting actors including Guggu Gill and Yograj Singh to take leading roles. In 1. 98. 9 came the critically acclaimed Marhi Da Deeva. The film starred Raj Babbar, Pankaj Kapur, Kanwaljit Singh, Parikshit Sahni, and Deepti Naval. In 1. 99. 0 Qurbani Jatt Di was released, starring Guggu Gill, Yograj Singh, Gurdas Mann, Dharmendra, Raj Babbar and Priti Sapru. The film was directed by Preeti Sapru herself, and did well at the box office. A second important release was Dushmani Di Agg, the last film of Veerendra. It also starred Gurdas Mann and Priti Sapru, and was successful at the box office. In 1. 99. 1 the major film Anakh Jattan Di starred Daljeet Kaur and Guggu Gill. It was the first movie where the audience really accepted ex- villain Guggu Gill as a hero. The film was followed by films like Jor Jatt Da, which managed to recover its cost. Badla Jatti Da was the major success of the year. It starred Guggu Gill, Yograj Singh in a villain role, and Aman Noorie. Udeekan Saun Diyan garnered critical acclaim, but was not a commercial success. Sounh Menoo Punjab Di, starring Satish Kaul, Rama Vij, Mehar Mittal, and Pal Randhawa was also one of the releases of 1. The film was directed by Sukhdev Ahluwalia, one of the most successful directors of Punjwood, and had music by Surinder Kohli. Vaisakhi, starring Deep Dhillon and Sunita Dheer, was released in 1. Jatt Jeona Morh was a major hit that year, and made Guggu Gill a superstar. Also released was Yograj Singh's Jagga Daku, which did moderately well. Dil Da Mamla, starring Guggu Gill and Amar Noori, did poorly at the box office. Jatt Sucha Singh Soorma (with Yograj Singh and Neena Sidhu), Mirza Sahiban (starring Guggu Gill), Lalkara Jatt Da, and Saali Adhi Gharwali. These films managed to do adequately at the box office, but were not major successes. Preeti Sapru's Mehndi Shagnan Di, starring Malkit Singh, Hansraj Hans, Preeti Sapru, and Yograj Singh, lost money. Kudi Canada Di starring Yograj Singh also did poorly. Kachehri (1. 99. 4) starred Gurdas Mann, Yograj Singh, and others. The film was praised by critics, was a commercial success, and won a national award. A second release was Tabahi, starring newcomer Vishal Singh; it was the blockbuster hit of the year. Guggu Gill's Vairi did quite well at the box office, but Jigra Jatt Da, with Yograj Singh as the villain, did poorly at the box office. Kimi Verma starred in Naseebo and Qahar in 1. Jurassic Fight Club - Wikipedia. Jurassic Fight Club (titled Dinosaur Secrets in Australia/UK) is a paleontology- based television series on History channel which premiered in the USA in July 2. Jurassic Fight Club was hosted by George Blasing. The show ran for one season of 1. Summary. Each episode features a forensic- styled breakdown of a prehistoric battle. 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