Yes Boss Hindi Movies

[Lauren Redder]

Myfirst exposure to John Payne, like so many others, was through 1947's Miracle on 34th Street, a feel-good holiday movie that finds the actor starring opposite Maureen O'Hara in a romantic, good guy role that remains a favorite of many, reportedly including Payne himself. But in the decade that was to follow, the actor would continue his career by appearing in a bevy of crime, noir, and western pictures that were about as far as you could get form the fantastical charm of his earlier successes. With titles like Kansas City Confidential, 99 River Street, and Hell's Island, Payne's career path took him down the dark side streets of cinema.

1956's The Boss is unlike any other John Payne movie I've seen, stripping this likable actor of any charisma and affability. He plays Matt Brady, a returning war vet (that's Dubya Dubya One) who has come home from the front lines to find his brother running an empire. But Matt has a mighty temper and a taste for liquor that comes at a high cost, including a relationship with the love of his life. Before you can say "you've had enough, Matt," he's drunkenly married a plain woman that he thinks is a prostitute and inherited his brother's business, leaving him as the boss of the entire outfit. With a cold ruthlessness and hunger to own it all, Matt Brady is about to trade his soul for success.

John Payne turns in a despicable performance as a narcissist with virtually no positive traits. He's arrogant, violent, unkind, and completely without mercy or remorse. When his business successes lead him into politics with the help of a corrupt lawyer, it somehow all gets even worse as his thirst for power and control becomes unquenchable. Unsurprisingly, the screenplay comes from blacklisted Hollywood writer Dalton Trumbo (Johnny Got His Gun) under the pseudonym Ben Perry. It's an angry script, but then again, Trumbo was an angry man, having been vocal about what he viewed as injustice and hypocrisy not just in Hollywood, but in the entire U.S. government during and following World War II. The most striking thing about the story is how easily it translates to today's political climate in which many U.S. citizens believe in the total corruption of virtually every political office. Trumbo was also drawing upon the real story of Tom Pendergast, an infamous Kansas City political boss, though the screenwriter wisely avoids any overt party lines, instead allowing us to separate the cautionary tale from our own political leanings. However, the story remains a scathing indictment of corruption and moral compromise, and has lost none of its weight in the intervening years. If anything, one only has to turn on the television for this film to feel more relevant today than it has been in decades. Credit also goes to director Byron Haskin, a wonderful talent who brought such classics as Disney's Treasure Island and War of the Worlds to screen, not to mention lesser--but still enjoyable--films like The Naked Jungle and Conquest of Space.

The Boss makes its Blu-ray debut in Kino Lorber's Film Noir: The Dark Side of Cinema VII with a new 2K scan that looks beautiful. All three of the films included in this box set come from the United Artists catalog by way of MGM, and all three films carry a loose through-line of political or corporate corruption. As is often the case with these Kino Lorber box sets, the definition of "film noir" is loose. While The Boss retains several hallmarks and themes that are common in noir, the film is more of a melodrama than a crime movie. Alan K. Rode delivers an excellent, thoroughly-researched commentary that mixes the scholar's impeccable academic perspective with approachable anecdotes.

The Boss is one of the last films to feature John Payne in a lead role. With the rise of television, many veteran actors were finding work on the small screen, and 1957 would see the star taking up the mantle of The Restless Gun for two seasons on NBC. Considering The Boss is one of Payne's final films, it's somewhat fitting that it presents is such a reflective, thoughtful story about the consequences of our choices.

I watched all 33 episodes of The Boss and Me twice! That has never happened to me. I am a crime fiction author who writes gritty police procedurals but also likes to write contemporary crime and cosies. But when I watch TV, aside from watching my favourite crime shows, I mostly watch programmes that friends and family snicker at. Reality shows like Real Housewives and the Kardashians.

Then an author I admired, Helen Oyeyemi, spoke of Korean drama, popularly known as K-drama, in an interview, and I was intrigued. Oyeyemi is a literary author and experimental and fearless in her writing. What would make Helen so like K drama that she had created a lecture on it? So, I watched my first K drama and was hooked. I thought about whether I should review them, as there were hundreds of fans already doing this, but I needed to bring my perspective into this universe just as I do with my book reviews.

Feng Teng was rich, handsome, calm, and reserved and could have his pick of any of the society ladies clamouring to be Mrs Feng Teng. Still, he quickly fell in love with Shanshan for just being herself. Shanshan, on the other hand, did not want his attention. He was out of her league, and she found him too distant and cold. But Feng Teng slowly wooed her, and she also fell in love with him.

I do have a few criticisms of the boss and me. Handsome Qi, Lishu and Feng Teng travelled to the UK for business and Handsome Qi got assaulted by two black males. That used a stereotypical negative image of another race and diminished my enjoyment. I found it a blot on this fantastic drama. It should tell creatives that stories are universal and you do not know who is watching. I am a creative black female, evolving in my work. Therefore, please, no stereotypes!

Also, near the end, Shanshan told Feng Teng that she was not interested in being a super executive nor running her own company but would be content with being just Mrs Feng. They should add that she would take on charitable causes to help develop young women like her. After all that she has achieved, it is boring to focus on Feng Teng. He would be bored as well.

Let's say you never saw Wall Street. Let's say you don't know that Gordon Gekko would happily destroy anything that got between him and his bottom line. In the movie poster, however, Mr. Gekko was wearing a contrast-collar shirt. No good boss has ever worn that shirt. That is wardrobe shorthand for "This guy is the villain, folks."

It feels obvious to include a character from Horrible Bosses on a list of bad bosses, but it would be irresponsible to exclude him. Normally, even villains are given some quality that makes you at least sympathize with them for millisecond. Bobby Pellit was just doing cocaine and firing "fat people."

Was she really a bad boss, or was she just teaching Anne Hathaway a very important lesson about work and life and what it all means? JK! She was a terrible boss, and Anne Hathaway should have quit on the first day.

Sandra Bullock played an evil Canadian who coerces her assistant (Ryan Reynolds) into marrying her so she can avoid deportation. Movie fun fact: This is the first movie to have a Canadian villain since Mighty Ducks 2.

John Milton seemed like an awesome boss at first: He paid well, and he gave Keanu Reeves a nice apartment in Manhattan. It was the perfect scenario, except for one small thing: He was literally satan. There's always a catch, folks!

You have all the money you'll ever need, no family to care for, and no expenses. And yet, you still stiff your destitute frog employee and his hungry family on Christmas Eve. This is how Bernie Sanders got so popular.

Dick Jones is proof that you don't need an original name to be the most despicable person in a movie. Maybe if he went by Rich things could've ended differently: You hire an assassin to murder one business rival and everybody freaks out. Very unfair.

Eliminating Christmas bonuses and replacing them with memberships to a Jelly of the Month Club? Doesn't matter if you apologize after the fact. That's messed up, Shirley. If Cousin Eddie decides you are a bad boss, you are a bad boss.

I have a tentatively good feeling about Stellar Blade. After spending a few hours with its upcoming PS5 demo, I'm reasonably sure that I'll enjoy this action RPG when it launches April 26. I'm also pretty sure it's not going to be an amazing game. Instead, I expect a solid-to-above-average game that appeals to me specifically. There's room for the full game to either drop the ball or totally wow me, but the demo indicates a clunky action RPG that's still more than enough fun to convince me to pummel the same boss for several hours just to feel out the combat system. I played the demo and now I want to play more, which is a positive sign.

Stellar Blade, or at least its demo, is a fascinating slice of the last 15 years of game design. It's presented as a flashy action RPG in the vein of Nier Automata, now with a dose of parrying from Sekiro: Shadows Die Twice and a distinctly Korean aesthetic. And it is basically that, just with somehow even more sexually exaggerated character designs. Indeed, even some of the surprisingly grisly Naytiba monsters have oddly prominent busts. I'd expect nothing less from the studio behind Nikke, which you may know as Butts: The Game.

You play as Eve, one of many cybernetically enhanced warriors (seemingly all women) sent to take Earth back from a race of truly hideous aliens, sword in one hand and gun in the other. This doesn't seem to be going very well judging from the unexpectedly gory opening, and after a botched mission Eve teams up with a local engineer named Adam. That's about all I can tell you about the story; the demo is not very long.

All that being said, I'm primarily here to fight things. Eve is a little awkward to control in levels, with some jumps and interactive features like kiosks being finicky to approach, but she moves pretty well in combat. Well, except for when she doesn't, but as much as I'm gonna rag on this demo, I do want to stress that I had a lot of fun with it, and I had a lot more fun the second time around once I'd acclimated.

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