A Piece of Ice in the Jade Pot;Icy Heart in a Jade Pot;Ice Heart in Jade Pot;One Loyal Heart in the Jade. ⚠️ Age Limit:+13 💽 Episodes : 1 to On Going 🖼️ Quality : HD 📌 Genres: Historical, Mystery, Romance, Wuxia 📝 7.8/10 · IMDb 📢 Available Audio : Chinese 🧾 Available Subtitle : English 🔰 Join Us On Telegram Cha1: @Korean_Drama_Tamil_Sub Che2:@Korean_Drama_English_Sub CLICK THIS LINK ⬇️ ⬇️ ⬇️ 🔹Episode 01 🔹Episode 02 🔹Episode 03 🔹Episode 04 🔹Episode 05 🔹Episode 06 🔹Episode 07 🔹 Episode 08 🔹Episode 09 🔹Episode 10 🔹Episode 11 🔹Episode 12 🔹Episode 13 🔹Episode 14 🔹Episode 15 🔹Episode 16 ❤️❤️❤️ Support and Shareit ❤️❤️❤️ Ads : Kindly Support Dear supporters, My Channel Link👇 https://www.dailymotion.com/kdtamil

A story between a reporter and a prodigy in the Chinese traditional game of Go. Before others, he is like an impenetrable wall but before her, he is just a young man learning to love. Sheng Jing Chu is a young talented Go player. Once a dark horse, he gains fame after winning a match that turns him into an overnight sensation in the world of Go. Despite never accepting any interviews, he becomes the subject of increasing media attention. When reporter-in-training Cheng Liao helps Sheng Jing Chu get out of a situation, she is mistaken for his girlfriend. What started as a lie turns into a reality when they fall for each other. Native Title: 舍我其谁 Also Known As: Who To Give Away , If I Can't Do It, Who Can? , Who But Myself Can Do It? , Chess Love , She Wo Qi Shei , 舍我“棋”谁 , 舍我棋谁 , 捨我其誰 , 舍我棋誰 Director: Kuk Kok Leung, Liu Chang Genres: Comedy, Romance, Drama, Sports Tags: Color Blindness, Go Game, Calm Male Lead, Nice Male Lead, Reporter Trainee, Cheerful Female Lead, Difficult Childhood, Boardgame, Unexpected Romance, Fake Relationship (Vote or add tags) Country: China Type: Drama Episodes: 41 Aired: Sep 8, 2021 - Sep 22, 2021 Aired On: Monday, Tuesday, Wednesday, Thursday, Friday, Saturday, Sunday Original Network: JSTV Youku Duration: 45 min. Score: 7.9 (scored by 1,317 users) Ranked: #1551 Popularity: #1931 Content Rating: 13+ - Teens 13 or older

A story between a reporter and a prodigy in the Chinese traditional game of Go. Before others, he is like an impenetrable wall but before her, he is just a young man learning to love... ⚠️ Age Limit:+13 🖼️ Quality : HD 📝 8.0/10 · IMDb 📢 Available Audio : Chinese 🧾 Available Subtitle : English Click Here More... 👉 Click Me CLICK THIS LINK (Download Option) 📥📥📥 🔹Episode 01 🔹Episode 02 🔹Episode 03 🔹Episode 04 🔹Episode 05 🔹Episode 06 🔹Episode 07 🔹Episode 08 🔹Episode 09 🔹Episode 10 🔹Episode 11 🔹Episode 12 🔹Episode 13 🔹Episode 14 🔹Episode 15 🔹Episode 16

Director: Li Yu Lei [李玉磊] Country: Chinese Status: Coming Soon Upload 🤗 Released: 2021 Genre: Cold Man, Contract Relationship, Drama, Novel, Romance Description: The drama revolves around He Qiao Yan, CEO of Heshi Group, and Qin Yi Yue, a child psychologist. It tells the story of a rational and indifferent man and a soft, optimistic, considerate, and meticulous psychologist, whose relationship develops from acquaintance to love. Adapted from the web novel "Mr He's Love is Not Forgotten" by Qin Ye.

Status: Coming Soon Upload 🤗 Released: 2015 Genre: Comedy, Romance Description: When Ji Sung-Joon was young, he was ugly. As he grew up, he began to have an attractive appearance. When Kim Hye-Jin was young, she was pretty. As she grew up, she became ugly. Ji Sung-Joon tries to find his first love.

Memories of the Alhambra tells the unique and suspenseful love story of Yoo Jin Woo and Jung Hee Joo. Strong spirited Yoo Jin Woo is the CEO of an investment company with a degree in engineering and a knack for developing video games. He has an adventurous and competitive spirit. Suffering after his best friend betrays him, he takes a business trip to Granada, Spain in search of the mysterious inventor of an innovative augmented-reality video game. He ends up at a hostel that Jung Hee Joo owns. Hee Joo is a former classical guitarist who came to Spain to further her studies. After the death of her parents, she takes on various jobs to support herself, including running the old hostel . They are both drawn into a series of strange and unexpected events. Memories of the Alhambra EPISODE : Watch full episodes of Memories of the Alhambra with subtitle in English VIEW MORE EPISODES : 📂 Episode 01 📂 Episode 02 📂Episode 03 📂 Episode 04 📂 Episode 05 📂 Episode 06 📂Episode 07 📂 Episode 08 📂 Episode 09 📂 Episode 10 📂Episode 11 📂 Episode 12 📂 Episode 13 📂 Episode 14 📂Episode 15 📂 Episode 16

Memories of the Alhambra tells the unique and suspenseful love story of Yoo Jin Woo and Jung Hee Joo. Strong spirited Yoo Jin Woo is the CEO of an investment company with a degree in engineering and a knack for developing video games. He has an adventurous and competitive spirit. Suffering after his best friend betrays him, he takes a business trip to Granada, Spain in search of the mysterious inventor of an innovative augmented-reality video game. He ends up at a hostel that Jung Hee Joo owns. Hee Joo is a former classical guitarist who came to Spain to further her studies. After the death of her parents, she takes on various jobs to support herself, including running the old hostel . They are both drawn into a series of strange and unexpected events. Memories of the Alhambra EPISODE : Watch full episodes of Memories of the Alhambra with subtitle in English VIEW MORE EPISODES : 📂 Episode 01 📂 Episode 02 📂Episode 03 📂 Episode 04 📂 Episode 05 📂 Episode 06 📂Episode 07 📂 Episode 08 📂 Episode 09 📂 Episode 10 📂Episode 11 📂 Episode 12 📂 Episode 13 📂 Episode 14 📂Episode 15 📂 Episode 16

The makers of Master said that releasing the Vijay-starrer in theatres is crucial for the revival of the film industry, which has suffered an unprecedented loss due to the pandemic. Amid growing speculation over Vijay’s Master releasing directly on an OTT platform, the producers issued a statement on Saturday to put an end to all the rumours. The makers said that releasing Master in theatres is crucial for the revival of the film industry, which has suffered an unprecedented loss due to the pandemic. “As we continue to battle the pandemic, we hope you are all safe and doing fine. We understand and can feel the amount of excitement among the audience to celebrate our #Master in theatres. We await the Big Day to come, as much as you do. With lot of rumours surfacing in the past few days, we would like to clarify our stand on it. Though we have an offer from a reputed OTT service provider, we prefer to the theatrical release, which is the need of the hour for the industry to survive the on-going crisis. We also request the theatre owners to stand with us and provide their support for reviving the Tamil Film Industry. We hope to reach out to you soon, with the good news. Stay safe,” said Xavier Britto of XB Film Creators in the statement. The release of Master was postponed following the outbreak of coronavirus. There was a strong sentiment in the film industry that the producers might opt for an OTT release owing to the on-going situation. However, the filmmakers remained determined to wait until some semblance of normalcy returned to the business of film exhibition. At present, theatres across the country are allowed to operate at 50 per cent seating capacity. This arrangement is expected to continue for the foreseeable future. And industry stakeholders hope Master rekindles the public’s interest in watching movies on the big screen. Master is directed by Lokesh Kanagaraj. Besides Vijay, it also stars Vijay Sethupathi, Malavika Mohanan and Arjun Das among others.

Class of 83 review: Though we’ve seen so many iterations of the gangsters vs honest law enforcers in the movies, there’s always room for another. Class of ’83 movie cast: Bobby Deol, Joy Sengupta, Vishwajeet Pradhan, Anup Soni, Bhupendra Jadawat, Sameer Paranjape, Ninad Mahajani, Prithvik Pratap, Hitesh Bhojraj, Ravi Singh Class of ’83 movie director: Atul Sabharwal Class of ’83 movie rating: Three stars There’s something to be said about basing a film, featuring rookie cops and their wearied, worn, but still straight-of-spine mentor, on a book of the same name by an author who is thoroughly conversant with the milieu. S Hussain Zaidi has had long years of reporting and writing on real-life crime and gang-warfare in Mumbai. Many of his volumes have been adapted by Bollywood, notably Black Friday, which focussed on the run-up and tumultuous fall-out of the 1993 Bombay blasts, and was made by Anurag Kashyap into India’s best docu-feature. This latest, Class of ‘83 goes back a decade, when Bombay was going through a huge churn. Cotton mills and their ‘mazdoors’ were being ground to the dust through a combination of political skulduggery and powerful real-estate sharks with an eye on the vast spaces, in the heart of the city, which housed the mills. There was illicit money to be made, an endless stream of it, through smuggling of gold, counterfeit currency, drugs, arms, and property. And fighting over the spoils were the various gangs of Bombay, whose only opposition came from an increasingly shrinking slice of the police force which still believed in law and order. The film opens in 1982, when Vijay Singh (Deol) fetches up on a punishment posting at Nashik’s police training academy. Smarting from the double blow of a personal tragedy and a professional setback, the reluctant dean’s attention is caught by five ‘back-benchers’, Surve, Jadhav, Shukla, Varde and Aslam, with the requisite degree of smarts, loyalty, and a streak of independence. This class of ’83, moving from being wet-behind-the-ears cadets to quick-on-the-uptake-cops on the ground in Bombay, swiftly earns fame as being honest and hard-hitting. As swiftly, they become thorns in the side of corrupt cops as well as greedy ‘netas’, especially CM Manohar Patkar (Soni), and begin themselves being buffeted by the allure of filthy lucre. Easy money and murk goes hand-in-hand, and even the most righteous cops are human. Though the film is fiction, its thinly-veiled allusions to real-life characters and events make it gritty and realistic, characteristic of Zaidi’s fiction, which is ably translated on screen by Sabharwal. There’s mention of the escalating Punjab terrorism and the AK47s which were finding their way to Mumbai; there’s also mention of Datta Samant and the struggle of the millworkers and the unions. Alongside, we hear of the ‘Naik and the Kalsekar’ gang, and Dubai emerging as a favourite mob hotspot: this is the backdrop in which the class of ‘83 operates, and the treatment—carefully muted background music, smartly executed action, and unshowy acts—makes it hard to separate fact from fiction. This strong sense of realism, and of time and place, colours the film: the patina is ochre-yellow, of the past, and the shootouts on the streets remind you of the 80s Bombay. The performances match up. Deol gets a hero’s entry, and is shaky in a few places, but on the whole manages to pull off his greying lion role, the unflinching moral centre of the film. Smartly surrounding him is a terrific ensemble cast, toplined by Joy Sengupta as DGP Raghav Desai whose scenes with Deol make the latter look good, Vishwajeet Pradhan as a bull-throated instructor at the academy (hear him chew out hapless recruits after their shooting test, and rejoice), and Anup Soni as the politician who knows how to play the game, and who really should be seen in movies more often. The young cadets turned officers are all credible too, except I wished there was just a little more detail to each of them: one is given a terrific Dirty Harry joke, another a nifty yet not overly-dramatised chase, and they have joint outings where they engage in spiky banter and, occasionally, high-pitched skirmishes. A little more would have filled out this bunch, and the film. Still, Class of ‘83 works both as a well-realised if a trifle sketchy hark-back at an interesting epoch, as well as an entertainer. Though we’ve seen so many iterations of the gangsters vs honest law enforcers in the movies, there’s always room for another. Especially because we need stories of cops who believe in their motto of ‘protect the good and destroy the evil’, today more than ever. Class of ’83 is streaming on Netflix.

It’s tough to make an issue-based film without being pedantic, or prescriptive. More nuance and delicacy in showing up both flaws and merits of the characters and their struggles would have made this important film, whose heart is firmly in the right place, lighter on its feet. Mee Raqsam movie cast: Naseeruddin Shah, Danish Hussain, Aditi Subedi, Rakesh Chaturvedi Om. Shraddha Kaul, Farrukh Jafar, Sudeepta Singh Mee Raqsam movie director: Baba Azmi Mee Raqsam movie rating: Two and a half stars Mee Raqsam (I Dance) is about a young motherless Muslim girl whose desire to learn Bharatnatyam causes ripples both in her conservative community, as well as those who live on the ‘other side of the village’. Written and directed by Baba Azmi, and presented by sister Shabana, the film is a tribute to their great father Kaifi Azmi. The subject is a worthy one: any film which brings up India’s sadly receding tradition of ‘ganga jamuni tehzeeb’ needs to be celebrated. It also touches upon class differences, the confined, circumscribed spaces and behaviour spelled out for women, and the deep rifts caused by bigots: whether you are Hindu or Muslim, prejudice is poisonous. The framework is fine. Filmed on location in Mijwan, UP, we get a sense of time both going forward and holding still in mofussil India. A skilled tailor (Husain), ostracised by his ‘quam’ for his staunch support to his 15-year-old daughter Maryam (Subedi) and her life-affirming passion for classical dance, has a future in ‘designer clothes’. Maryam’s aunt and grandma (Kaul and Jafar), as well as a domineering elder (Naseer) represent the graven-in-stone beliefs of Muslims; a sour-faced patron of the local ‘natya-shala’ (Om) stands for the Hindus who believe there should be no truck between the communities. These worthies are given pause by the bright-eyed Bharatnatyam teacher who encourages and helps Maryam, as well as a young Hindu girl who befriends Maryam. These pushes and pulls of crippling traditionalism vs modernity, and their impact on individuals, plays out in the heart-warming interactions between the father-daughter pair of Hussain and Subedi, both excellent. The former usually gets bit parts in movies; this one gives him space to flex his wings, and the result is pleasing. This is a father all young women should hope for. What mars the film is the obviousness and the repetition when its chief issue is addressed. Consternation around ‘Ek Muslim/Mohammedan ladki hotey huey naach-gaana’ comes up repeatedly, as does mention of ‘Devdasiyon ka naach’ and ‘but-parasti’.‘Tawaayaif banaane ka irada hai?,’ goes Maryam’s loving-but-stern ‘khala’. A sequence in which Hussain explains, in all seriousness, to his ‘beti’ about how a male classmate’s ‘chidaana’ could be an expression of interest, is problematic. It’s tough to make an issue-based film without being pedantic, or prescriptive. More nuance and delicacy in showing up both flaws and merits of the characters and their struggles would have made this important film, whose heart is firmly in the right place, lighter on its feet. Mee Raqsam is streaming on ZEE5.

Let Him Go (R16, 114 mins) Directed by Thomas Bezucha **** The casting of a film can bring with it a quite unearned emotional freight. The last time we saw Diane Lane and Kevin Costner playing a married couple, raising a handsome young man in rural North America, the film was 2013's Man of Steel, and their adopted son was Clark Kent, known to you and me as the indestructible Superman. So when we see Lane and Costner's son, early in Let Him Go, laying broken-necked and irreversibly dead after an off-screen fall from his horse, it brings with it a creeping, whispering possibility that, whatever story is about to be unfurled here, there is no certainty that the good guys will win in the end. Lane and Costner are Margaret and George Blackledge. The year is 1963 and the place is rural Montana. Son James was married and the father of an infant son. When his widow Lorna remarries, Margaret and George are at the wedding, happy that their grandson Jimmy will be a part of a new family. But that family are a fearsome clan of criminals and bullies living well outside the law. Fearing for Jimmy's safety, the couple drive the hundreds of miles to the Weboy's homestead in North Dakota, hoping to bring Jimmy and maybe Lorna home with them. Nothing good ensues. Let Him Go is a savage and, at times, brutal film. Moments buried within the quietness and poignancy of the opening scenes might well telegraph some of the hell that is waiting for Margaret and George across the state line, but it was only after the film that I started to think about any of the markers that director Thomas Bezucha (The Family Stone) had maybe put down. Before that, I guess I was too busy being entranced by the work that Lane, Costner and cinematographer Guy Godfree do here, making gruff poetry out of Bezucha's lean script. And then being basically terrified by Lesley Manville, tearing up the screen as Blanche, the monstrous Weboy matriarch. Let Him Go is mostly terrific. The stunning landscapes, hot spikes of sudden violence and the lyricism of what passes unsaid between the leads, combine into an unsettling and engrossing whole. Recommended.

Andhaghaaram movie review: The film has a complex story structure looping from one point to another in no particular format. The film weaves multiple plots into one interlocking narrative. Andhaghaaram movie cast: Arjun Das, Vinoth Kishan Andhaghaaram movie director: V Vignarajan Andhaghaaram movie ratings: 4.5 stars Director V Vignarajan’s film Andhaghaaram unfolds like a Dan Brown novel. It draws you into the narration with the promise of revealing an earth-shattering secret, and you take the bait. As you go deeper, you get more such promises of a major revelation coming right up the next corner until you realize, you were travelling with the secret all along. The movie begins with a sequence of people doing some horrible things. One of the patients of Dr Indrans (Kumar Natarajan), a renowned psychologist, pulls the trigger on the doctor. Indrans survives the attack but he loses his ability to speak but finds his voice again with the help of a speaking aid. And then, there is a blind librarian named Selvam. He is a kind-hearted working-class bloke, who goes about the day by helping other people to locate books at a government-run library. Well, there is more to him than meets the eye. He is also a ‘medium.’ In other words, he is a courier between the dead and the alive. It is his part-time gig, something that he inherited from his father, who is also dead. Now, he has no one, except for his father’s brother, who is living under a different identity for the reasons unsaid. Then we meet Vinod (Arjun Das), a cricket coach, a tormented soul. We don’t learn anything about him as a person, except he has an ever-nagging girlfriend, who seemingly shares no intimacy or real concern about his well-being. She is always dismissive of his problems. No wonder, she is not the one Vinod would call in the time of an emergency. Of course, there is a thread that connects all three of them. To be precise, it is a phone line that connects all three of them. And Vignarajan takes us through the corridors of voodoo magic, greed, repent and some fancy clinical psychological terms and tricks in this 2 hours 51 minutes long movie before we find out how and why. Andhaghaaram has a complex story structure looping from one point to another in no particular format. The film weaves multiple plots into one interlocking narrative. It is an exercise in narrative style and plot structure, which is something similar to director Thiagarajan Kumararaja’s masterpiece Super Deluxe. However, Vignarajan doesn’t achieve the same effect in terms of clarity. Andhaghaaram feels a bit rushed. The ease and clarity with which Vignarajan moves the story forward from the beginning disappears towards the end. It feels overwhelming with the deluge of revelations that Vignarajan dumps on the audience making it difficult for the audience to keep with what’s happening. But, Andhaghaaram is still a good attempt, given the complexity of its concept.