Villu - Tamil Movie Review

Star-casts: Vijay, Nayanthara, Prakash Raj, Vadivelu, Sriman, Manoj K Jayan and many others.
Banner: Ayngaran International Productions
Production: K. Karunamoorthy, C. Arun Pandian
Story, screenplay, Dialogues and Direction: Prabhu Deva
Music: Devi Sri Prasad
Cameraman: Ravi Varman
Art Director: Sunil Babu
Stunts: S.Vijayan
Dialogue: Ravi Kumar
Lyrics Writer: Kabilan

As it goes with Spider Man, Superman, Die Hard, Mummy and James Bond series, Actor Vijay has started marking his ventures with same genres. Of course, commercial elements are always welcomed by the masses and especially his style, dialogues bounded with messages, mischief acts and tremendous dance. But when it comes to stories where ‘vengeance’ is the main element, they’re out of audiences’ tastes.

Son seeking vengeance for his father’s death is something that everyone has been viewing on the screens for over 3 decades. And why Vijay does pick up such an empaling speculation on each of his films? Well in Kuruvi, his task was about bumping of the baddies to save his father and here, he’s there on revenge of his father’s death. Precisely, it’s a polished remake of ‘Aboorva Saghodarargal’ and Hindi Movie ‘Soldier’….

The film opens with Pugazh (Vijay) on a secret mission as he receives instructions from senior police officer Joseph (Manoj K Vijayan) to abduct world’s deadly criminal Raaka (Aditya). Sooner, Pugazh makes Jhanvi (Nayanthara) with her as a part of his mission (As James Bond does it for all Bond girls). Perhaps, later its revealed that Jhanvi is none other than daughter of World’s most wanted mafia leader JD (Prakash Raj). Rest of the film is about who actually Pugazh is? What are his intentions?

Vijay does a brilliant job on dance, stunt sequences and overall good justice to his role… But watching him with unbelievable stunts on aircraft is something we say, ‘ludicrous’, ‘Ridiculous’…. Does he assume himself to be James Bond or Die Hard fame Bruce Willis? Its a billion dollar question. The funniest annoying part is where our hero stands amidst of 10 cars getting blasted with bomb and yet not spotted with single cut. Do Vijay and Prabhu Deva think audiences to be fools watching the film? Even, filmmakers of Telugu film industry have transformed and started making good films. ‘Villu’ starts off well in the first half with fun, frolic, songs, action and romance. But none ever expected that Vijay would perform clumsy acts like throwing underwear on Nayan’s face and that’s something female audiences would hate it. Nayanthara can better quit acting and look for Malayalam offers or else continue here in Kollywood with item numbers. All throughout the film, she is involved in skin shows and doesn’t attempt for a better performance. Blame is on the part of Prabhu Deva who doesn’t give her enough scope to perform the role. Vijay’s double action is unnecessary and someone could have played his father’s role. Humble request to Prakash Raj - ‘Sir, Kindly don’t take up offers for money sake’. Devraj, Anand Raj, Sriman live up to expectations. Vadivelu’s humorous tracks are only relief especially, shaking his legs for ‘Kathala Kannale’ and ‘Naaka Mukka’ are over-the-top that’ll cause you stomachache. It’s a decent spell of bull fight though done on CG process and call it ‘good work’. Prakash Raj looks funny with colored wigs on his head (Remember Suman in ‘Kuruvi’ and ‘Aegan’).

Prabhu Deva was quite good on remaking each and every in ‘Pokkiri’ while he fails to pen a gripping screenplay for his own script. The First half moves about with commercial factors and everything’s fine till 10 cars burst during an action sequence with Vijay walking straight through them. Prabhu Deva must understand watching James Bond film is fine and good, but try not applying them for Vijay’s film.

Musical score by Devi Shri Prasad has whole lot of Tollywood traces and fails to impress with his background score. ‘Rama Rama’ picks up the interest of Vijay fans with Kushboo and Prabhu Deva dancing for the number. Well, rest of the songs doesn’t carry on with same credits. Pepsi Vijayan’s stunts are the highlighting factors in the film while rest disappoints us.

On the whole, ‘Villu’ doesn’t carry any specialties like ‘Ghilli’ or ‘Pokkiri’. Overdosed heroisms and loose screenplay fails to hold even Vijay fans in theatres. However, we may point out the exact features, anyway or so Vijay has tactics of getting his film run successfully for more than 200 days. Maybe, more too.

Fine! For ‘Kuruvi’ we had our verdict carrying ‘Refund Your Tickets’ while for this one – ‘Gift the tickets to your enemies’ would be the apt one.

Bottom - Line: Sequel to Kuruvi

Verdict: Ayoo Ramaa…..

Padikadhavan - Tamil Movie Review

Star-casts: Dhanush, Thamannah, Vivek, Suman, Atul Kulkarni, Shiyaji Shinde and others.
Banner: Vijaya Productions
Direction: Suraaj
Music: Manisharma
Cinematography: Venkatesh

PADIKADHAVAN

Well, this is something for your information. When a funny message on Villu’s failure was messaged to Dhanush’s assistant, both laughed with cheerfulness. Vijay if you were waiting for your chance, carry on and get going with it…. ‘Padikadhavan’ – The most terrible and worst movie of this Pongal season and of course call it – Dhanush’s breaking point like Pudukotailirundhu Saravanan and Sullan. Director Sooraj has been such kind of filmmaker who easily copycats Hindi and Telugu films for his version. Nevertheless, comedy tracks were so excellent in ‘Thalainagaram’ and ‘Maruthamalai’ and this one isn’t an exception.

‘Awkward film’ – is what you would call this after watching… You would feel 150mins of horrible experience of late 90s Telugu film where minimum of 5 villains are present yelling with their annoying loud voices and a solo hero bumping them off. Naturally, Padikadhavan makes you feel of Satan is let loose out of hell or getting trapped with a half-drunken monkey inside a cage.

Radhakrishnan (Dhanush) happens to be the only uneducated person in his entire house. His father (Pratap Pothan) is so distressed and annoyed about him all the time. But his other family members are so kind to him. Over here with attempts of taking the story forward, our honorable filmmaker inserts an idea into our hero that getting married with a well educated girl would transcend his life. He meets an aeronautical student (Thamannah) and it’s love at first sight. The same crackbrained stuffs of dream sequences, hatred and finally love blossoming appears… But that’s not merely the tale for there happens to be a group of people separately eyeing for Radhakrishnan and his ladylove. Don’t get too excited… Rest of the story with its sluggish screenplay has lots of restlessness on you.

Dhanush can better quit acting for few days, fetch a good script like ‘Adhu Oru Kana Kaalam’ or ‘Yaaradi Nee Mohini’ and then make his comeback. Looking leaner isn’t a big deal, but getting on with unbelievable stunts that he isn’t capable off is something ludicrous. Well, in one particular scene we have our hero’s friends uttering the same words, but that doesn’t get follow anywhere? It’s so evident that henchmen are carrying artificially made sickles and knives, which we very often spot in plays of school day functions. Our dear Thamannah, don’t ever accept such kind of offers for that will dump you out of town. She is perfect on all vistas except choosing the script. Vivek offers certain humor tracks but most of them do remind us about Vadivelu’s style (Fine! As you all know it’s Vadivelu who was replaced by Vivek). But it would have been nice if Vadivelu had played that role as Vivek doesn’t fit the role of funny don. Suman, Shayaji Shinde, Atul Kulkarni have been wasted on their roles and don’t know the exact reason what the filmmaker was doing here?

Most of the scenes have been taken from Pawan Kalyan’s Telugu movie ‘ABCDEFG – A Boy Can Do Everything For Girl’ especially the tiff between Dhanush and Thamannah. It is better for Suraaj to stop watching DVDs and think something different.

Musical score by Manisharma is a mediocre and none of the songs are worthy hearing. Ditto to his background scoring. Cinematography and Editing are so amateurish.

On the whole, ‘Padikadhavan’ has no chances of making it big in box office… Even Dhanush’s diehard fan would make of his ridiculous acts on the screen…

Bottom - Line: illiterate fails to the worst

Verdict: Damp squib

Kadhalna Summa Illa - Movie Review

Star-casts: Sarvanand, Ravi Krishna, Kamilini Mukherji, Nasser, Tejashri, MS Bhaskar, Ilavarasu and others.
Banner: Raj Television Network
Direction: Ilangkannan
Music: Vidhyasagar, Manisharma, Moorthy
Cinematography: S.A. Vincent

KADHALNA SUMMA ILLA

An adventure can enlighten a person and indeed consider this term ‘Love itself is enlightenment’. Not sure, whether Radhakrishnan, Director of ‘Gamyam’ was inspired from life of Gautama Buddha who witnessed adventure that led to enlightenment. Remaking such a top-notching flick into Tamil with same casts on lead except Ravi Krishna replacing Allari Naresh has the same results.

‘Kadhalna Summa illa’ directed by Ilangkannan who earlier made ‘Ottran’ deserves good pat for a fine job. But there happens to be a big blunder that he has committed all throughout the film. Any guesses? He hasn’t exactly remade the film but has done cut-copy-paste works of ‘Gamyam’ to this Tamil remake. The scenes doesn’t involve the character of Ravi Krishna have been copied from Telugu version with just dubbing. Only scenes involving Ravi Krishna has been reshot and that are not you call perfection.

Anyways, it’s fine and good until audiences don’t judge the most blatant flaws on continuations.

Kadhalna Summa illa – As the title suggests it’s not at ease the protagonist wins his ladylove.

It’s a journey of Abhiram (Sarvanand), son of a millionaire in search of his lost love Janaki (Kamilini Mukherji). On this travel, he experiences what the real life is that he hasn’t strained to learn earlier. He goes through various encounters of joy, fun, pain, emotions, birth and even death. To get him accomplished of his love, a roadside bike-lifter velu (Ravi Krishna) is on his side.

With our journey not extending more than 120mins, ‘Kadhalna Summa Illa’ is a fantastic flick that offers a touching tale with entertainment for all classes. An act of surprisal from Ravi Krishna who with his ‘Netru Indru Naalai’ had turned the spotlights on him and with this film, he’s over-the-top. Debutant Sarvanand is sure to have big time in Kollywood with his charming looks and performance. Kamilini Mukherji’s decent performance offers enhancement to the script though her role is minimal. Though appearing in one particular sequence, M.S. Bhaskar steals the show while a person enacting the role of Naxalite for couple of scenes is extraordinary.

Background score by Moorthy is close to everyone’s heart while his score on songs ‘Samayame’ would fit Telugu and not Tamil screens. Vidhyasagar has copied his own tunes of ‘Jai Sambho’ from Telugu movie ‘Bagaram’ while Manisharma does it with ‘Ennavo Saidhai Nee’ from Okadu.

Cinematography by S.A. Vincent enriches the visual quality and would have been better if the copy-paste factor was avoided…

On the whole, ‘Kadhalna Summa Illa’ is a film that can be watched for a good-different experience especially for those who were fed up with ‘Villu’ and ‘Padikadhavan’ for this season.

Bottom - Line: Poignant tale of romance

Verdict: Be a part of this journey…

A AA E EE - Movie Review

This romantic comedy is a remake of the Telegu film, Chandamama.

A AA E EE

Subramaniam, (Prabhu) an Ayurvedic physician is a much respected man in his village. His only daughter Anita (Monica) returns home from Chennai after completing a course in fashion designing. Having lost her mother at a very young age, Anita is close to her father and they share a special bond. Soon Anita’s marriage is fixed with Ilango (Arvind), son of Vedachalam, (Haneefa).

While Vedachalam is a good for nothing, his son is a perfect match. Illango falls in love with Anita. But Anita tells him of her past, about her lover Akash, (Navdeep) who had jilted her after a one night stand. Illango, though shattered meets Akash and tries to unite him with Anita.

And in this attempt, he finds himself falling in love with Anita’s cousin, Eshwari (Saranya Mohan). Now the story is about uniting the two pairs of lovers. And Anita does not want to hurt her father with the knowledge of her past.

Set in a rustic background, the film entertains with its moments of comedy, slapstick albeit. And it talks about a young daughter who is willing to sacrifice her love so that her father is not disappointed, a trait not that often seen in today’s films.

Prabhu as the father is good. Manorama as Illango’s grandmother is at her usual best. Haneefa in his colourful outfits keeps the audience chuckling with his dialogues. While Arvind and Monica are adequate, it is Saranya Mohan who impresses with her acting. Navdeep makes a mark too.

The songs are good. Good camera work with stunning visuals showing nature at her best.

There are moments when the film sags, but if you have a penchant for clean family drama, this one could be straight up your alley.

Poo - Tamil Movie Review

Director Sasi returns with “Poo” (Bloom) after a long hiatus, but has ended up with a bloomer.

The offering has situations similar to mushy hits like “Autograph”, “Thavamaai Thavamirundhu” and “Azhagy”.

POO

The story revolves around a villager-turned-engineer Thangarasu (Srikant) who is unhappily married to a rich woman. He bumps into his old flame Mari (Parvathy), the better half of a tea shop owner. The film deals with their trip down memory lane.

Flashbacks reveal Mari’s crush, her inability to say “yes” at the vital moment and the sacrifices of the protagonist’s father to help him reach an acceptable social status.

Mari’s present sob story and her continued yearning interspersed with her earlier inability to express her love take the film towards its rather insipid climax.

The treacle-like story lacks verve and looks more like a badly made television serial.

Parvathy is the only saving grace thanks to her gallant effort to etch the sad character. Srikant as a bumpkin cuts no ice.

Listless music drags the film down further.

Cinematography by Muthiah is just a wee-bit above average adding some beauty to the village backdrop.

Sevval - Tamil Movie Review

Star-cats: Bharath, Poonam Bajwa, Simran, Sampath, Vadivelu, Rajesh and many others
Production: Jinnah Creations
Story, screenplay, Dialogues and Direction: Hari
Music: G.V. Prakash
Cinematography: Priyan

Sevval

Nothing one aspect so impressive in Hari’s Diwali release ‘Sevval’ and his biggest flaw was penning the same old clichéd story of brother-sister sentiments. For the goodness sake, Hari should have noticed the trends transcending in Kollywood and should have brimmed up with something new for the audiences. Usually, reports would have stated that Hari’s flick is mainly centered at ‘B’ and ‘C’ centres. But not actually does this film do any favor to those centres too. Even a villager wouldn’t like this film, for he would have watched it around millions of times with the same genre…

Right from the opening till the end, everything is predictable from the audience’s part. Be it opening shot where Murugesan (Bharath) sets out from Prison in 2008, everything is predictable that he should have murdered somebody or else accepted the murderous act (As Vishal does in Thamirabharani). Indeed, much prior to interval, even with an incognizant creature would guess why the protagonist is out from prison.

The flashback reveals that Murugesan was a kind of aggressive youngster who has no goals to score in his life. His only companion is his uncle Thabal Thangavel (Vadivelu) and you’ve got limited series of comedy tracks expected from them. But, you don’t find much in the latter half. Murugesan falls for his village girl Paarijatham (Poonam Bajwa), daughter of a temple priest (Y.G. Mahendran). Paarijatham is well-pampered by her elder sister Gayathri (Simran) who gets married to the person (Prem) whom her father arranged. Amidst of this, love blooms between young lad and missy while her antagonistic relative (Krishna) eyes for her with lust and you’ve village feudal Lord (Sampath) in hand with him …

All of sudden, Gayathri dies after delivery suffering from Cancer laying the new born baby on the hands of Paarijatham. As the close relatives, force her to marry sister’s husband for taking care of child, she is wedged emotionally and on the pars, she is stuck with the evil-doer cousin and feudal Lord.

Will Murugesan able to save her out of their clutches and shore her on safer ground forms crux of the story?

Bharath hasn’t done anything such appreciable in his previous flicks except few and Sevval adds to the list of his long queued flop shows. It would nice if Hari answers to it on why did he opt for Bharath? Might be, none of the leading actors didn’t want to be a part of this silly bored film.

Poonam Bajwa may turn to be favorite for young lads for pleasant and homely looks. But on the terms of performance, she is Zero. She has to work a lot and gear up for a better presentation. Simran does justice to her role and she is the only convincing factor that Hari can present to us. Vadivelu carries off the film to certain extent but nothing to extraordinary level. Even that offers a whole lot of boredom after sometimes in the dragging screenplay…

Sampath being a good actor should surely refuse such silly roles that zillions have played over periods.

G.V. Prakash adds one more to the list of disappointments for neither songs nor background score really sound good… Priyan’s cinematography and V.T. Vijayan’s editing offers strength to Hari’s typical screenplay of moving it…

Valuating ‘Sevval’ on the whole, there is nothing much interesting from the part of Hari… It’s full of more annoyance that you heed to after watching this film.

Bottom - Line: Distorted flick from Hari

Verdict: Specially for ‘D’ graded audiences

Varanam Aayiram Review

“Vaaranam Aayiram”, which means ‘a thousand elephants’ in Tamil, is a Suryafilm all the way. The actor strides through it with his double role, giving a scintillating performance.

The tale is about a goody-goody relationship between father and son. Surya plays a wizened old man, Krishnan, in the autumn of his life and a strapping army major with aplomb..

The 33-year-old Surya even sends the audience into complete disbelief looking every inch a 17-year-old for a brief while in the film.

The story recalls the touching moments in a family that has only love for each of its members - comprising father, mother (played by Simran) son and his girlfriends (Sameera Reddy and Divya Spandana) spread between India and the US.

While it first describes the love between the father and his wife in the 1970s, it also beautifully portrays the son’s love life many years later.

After a love affair in Chennai, the protagonist head to the US, where he sweeps the fashionable and chic Sameera Reddy off her feet.

Playing men of different ages and times, Surya makes subtle changes in his gait, body language and dialogue delivery, thereby creating different shades to his two roles.

The time difference between father and son is also shown with painstaking digital detail.

The cinematography by Rathnavel is excellent as he matches the digitally superimposed visuals with live images.

Hit music in all the seven songs by Harris Jayaraj provides the icing to the cake.

Director Gautham Menon has exceeded himself in creativity, extracting great work from his cast.

The over-sweet nature of the story and its lagging length in the second half are its minus points that pale into insignificance due to Surya’s brilliant essay of the two roles and a moving climax.

Thennavattu - Movie Review

Star-casts: Jeeva, Poonam Bajwa, Ganja Karuppu, Sai Kumar, Ravi Khale, Saranya, Revathi, Mano Bala and many others
Banner: Sun Pictures, ELK Productions
Story, Screenplay and Direction: V.V. Kathir
Cinematography: Vetri
Music Director: Sri Kanth Deva

Thennavattu

Obviously, making such kind of films would be the worst curse inherited in Tamil film industry. Well, an amendment should be made in our film industry that directors should get approval from board of sampled film critics before making their film or at least the producers must follow it… Watching ‘Thennavattu’ is hells breakings lose out of the roofs and it’s the worst film ever made than ‘Kuruvi’. Why directors are still drenched with simple-witted thoughts of hero bullying the baddies and running around bush with his ladylove. Moreover, it’s the exact polished work of Director Perarasu’s ‘Tiruppachi’.

At this era of cyber space and changing phase of Indian Cinema, one can’t keep bluffing up with a silly theme that’s no more a centre of attraction for any centres of audiences. It’s a billion dollar question why Jeeva being such a great experimental actors wanted to accept this offer. Actually, he might have had plans about shifting his paradigms from offbeat to commercial movies. But, there are many lovable scripts that would welcome him and it’s a great blunder on Jeeva’s part.

Perhaps, it’s the second consecutive flop show of Sun Pictures as it has landed up churning out an annoying flick as ‘Kadhalil Vizhundhen’.

The film opens with a Kooavagam Festival where the entire scenario seems to be bit distressed and quite evoking your senses. It would ideate us that director has got something nice to deliver and it’s a great disappointment once the flashback begins. Kottai (Jeeva) seeking is the manufacturer of Aruvals (sickles) in a village town and his only happiness if his lovable mother (Saranya Ponvannan)… Seeking fortune, both Kottai and his dim-witted friend Vellaiyan (Ganja Karuppu) make their way to Chennai. Without any guesses about his identity, they land up at the premises of Kailasam (Ravi Khale) is a hooligan killing out people as in video games. Unknowingly, Kottai manufactures the sickles getting it for Kailasam the purpose he uses for.

Simultaneously, it’s love at first sight for Kottai as he falls for a beauteous innocent missy Gayathri (Poonam Bajwa), a violin teacher. On the pars, Kailasam’s son Santhosh a rapist by profession falls for Gayathri and tries seducing her. Eventually, a big fight breaks out between Santhosh and Kailasam, where he dies accidentally…. Now, it’s the turn of Kailasam setting out to seek revenge on Kottai and what’s the end? You know it….

Worst underrated film that lets you yawn, left and right and centre all throughout the show. If you plan to watch the film just for air conditioned services, you can’t afford for a comfortable sleep as hero and villain yelling with punch dialogues and Sri Kanth Deva tortures you with high-decibels of noisy sound that’ll let your eardrums spoiled…

Even a drunkard or five-sensed creature would love watching this film as it’s a flimsy script with annoying sluggish screenplay.

Jeeva has however tried making his best efforts of establishing himself as a best actor on commercial vistas too and doesn’t accomplish it. Poonam Bajwa’s luck was all about making her debut with Sevval. Though, the film wasn’t a great one, she had enough scope to perform and this one completely goes in contrast.

Please don’t ask us about rest of the star-casts. Other than Saranya, everyone are best to be ennobled as ‘Torturers’…

None of the songs really sound good and for better we have an advice for directors roping in Sri Kanth Deva… If you are gearing up for a low or medium budget flick, kindly opt for some other fresh musicians who are really talented. In case of getting Sri Kanth Deva, you can better avoid songs itself in the film.

Vetri’s cinematography is the only convincing factor in the film and he has great time in Kollywood.

On the whole, Thennavattu is a film that shouldn’t have been made at all… Don’t know when producers will actually get enlightened of offering good opportunities for filmmakers who have best scripts in hand…

Our kind advice for the audiences is better not to watch this film…

Bottom - Line: Curse to Tamil Film Industry

Verdict: Worst than the worst of all…

Ellam Avan Seyal - Movie Review

Star-casts: R.K., Bama, Ashish Vidyarthi, Nasser, Manivannan, Raghuvaran, Visu, Manoj K Vijayan and many others.
Banner: R.K. Arts
Production: R.K.
Story and Direction: Shaji Kailash
Dialogues: Prabakar
Music: Vidhyasagar
Cinematography: Raja Rathinam
Editor: Don Max

Versatile filmmaker Shaji Kailash earlier made his directorial debut with ‘Jana’ starring Ajith Kumar in lead role. Alas! It was a disappointing show as he merely stepped down from his prestigious status and does he stride with a great comeback here? Of course, remaking his own directorial ‘Chintamani Kola Case’ without any superstar could have been an impaling speculation. Yup! Imagine a performer standing on the shoes of Malayalam superstar Suresh Gopi and a debutant on the role of Bhavana.

Actor RK is just awesome surprising us with his never-seen-before potentials revealed. Unlike many others who just drops themselves on the screen with a superhero kind of characters, RK strides with quite with an impressive piece of work. Shaji Kailash makes us yearn for more such unique of films in Kollywood.

The film doesn’t differ from its original version other than portions of parallel comedy tracks rendered by Vadivelu.

LK (RK), a savior of the criminals in public turns to be the one culminating their lives too. His character is well established with couple of missions on bumping off baddies who happens to be his own clients. Later, we have a stranger (Thalaivasal Vijay) visiting him and explaining his problem that is none other than biggest nightmarish murder of an innocent girl Chintamani (Bama) who was ragged and brutally murdered by 9 senior girls. The stranger who appeared to LK is none other than one of girl’s parent and he agrees to rescue them from the criminal box as they are already pinned for life sentence.

You know, where’s the lawyer up to? Rest of the story goes on with a vivid encounters and bench hearings in court where hidden truth of dark past are revealed. Well, it’s really shocking to get ahead with surprising climax that none would have imagined about.

Director Shaji Kailash could’ve have bit avoided protagonist being depicted with larger than life vistas. Hero jumping across the ceilings and floors is something ridiculous and that spoils the feel of watching it. However, hats off to RK astonishing us with good presentation and he can look forward for great days in town. But why he keeps roaming with his black gown even outside the court while murdering his clients is again out of question. Fine! It’s a realistic to see a leading criminal lawyer just travelling in an ordinary ambassador car. Though Bama appears to be central subject, she doesn’t get more scope while Manivannan as her father sways more on emotional quotients. Late actor Raghuvaran appears in couple of songs and he is mind blowing with his dialogue deliveries and gestures. Sukanya as RK’s sister does a decent job and ditto to Visu as his uncle. Vadivelu keeps refreshing us with his parallel comedy tracks that happen to be like a commercial break of thriller screenplay. Though there is no connectivity, audiences would love watching his quotients. Don’t miss his opening arguments as he says ‘Kadupu Aethura My Honor’ wins grand round of applause.

Background score by Vidhyasagar is spellbinding and he is there with a convincing work after series of flop shows. However, there’s just one song of 9 alluring missies shaking their legs… Call it a ‘Item Song’ and that’s not an impressive one from Vidhyasagar.

Raja Rathinam’s cinematography requires special mention as he has precisely included as many details in the frame. Don Max gives us a feel of Antony’s early works, quite amateurish with lots of immediate cuts that offer nothing other than disturbance.

On the terms of narration, Shaji Kailash and screenplay writer Prabhakaran deserve good credits. But they could’ve sooner got in the case of what the film is about, The initial stages is quite dragging and couple of murders committed by RK should have been cut shot. Or else, there is nothing such blatant flaws in the film.

On the whole, Ellam Avan Seyal is better than the original version in many aspects and great work by entire team is evident here. The film would make good openings amongst audiences with no biggies ruling the box office at the moment.

Bottom - Line: Better than the original

Verdict: Worth-watching…

Mahesh Saranya Mattrum Palar - Movie Review

Star-casts: Sakthi, Sandhya, Keerthi Chawla, Saranya Mohan, Santhanam, ‘Kalyana Maalai’ Mohan, Vinodhini, Mohana Priya and many others.
Banner: Cool Productions
Production: Chida.Shenbaga Kumar
Direction: P.V. Ravi
Music: Vidhyasagar
Cinematography: K. Gunasekaran

‘Pidichirukku’ was indeed a good start by Cool Productions for it was a flick that didn’t carry any superstars or biggies on technical crew. If you are gonna enter the theatres with same expectations, you are sure to get back out with only disappointments. Producer as well Director of the film had their promos listing it’s a great family entertainer. Yeah! You’ve lots and lots of family members on the screen. But where are real emotions depicted? Again, they had their words of depicting the film as a pure romance. If so, where is romance? Not even a single shot binds our hearts emotionally. We get to watch the family members are not really bonded and naturalism is completely missing.

Oh! There are lots of noticeable flaws that aren’t acceptable by front benchers neither elite group. Let’s glimpse through the synopsis and get back analyzing the film more precisely.

It’s all a happy joint family dwelling in Kumbakonam and their well-featherbedded daughter Keerthi (Saranya Mohan) gets her alliance fixed. Well, she is keener that it’s her brother Mahesh (Sakthi) who has to decide whether bridegroom is suitable for her or not. Getting back from Chennai, he is so happy with the guy marrying his sister. Preparations for marriage commences and amidst of it Sakthi reveals of his love story that brings in Saranya (Sandhya) onto the screen. The entire family members are so happy about the girl and indeed eager to receive her. But things aren’t as cool and happy as expected for fate takes its turn…

Sakthi has no improvements on his quotients and is he trying to grab the post of ‘Yedhartha Nayagan’ is something questionable. His looks are excellent and likewise he has to opt for good scripts and characterizations. Sandhya can better quit acting for she is really pathetic and we can’t spare for her one-hit film ‘Kadhal’. She is unable to deliver one such praiseworthy task on her role while rest of the casts deserves same credits. It’s just a mediocre and unconvincing performance all of them except Santhanam and Srinath.

Musical score by Vidhyasagar is unbearable and soon he would step down lagging behind Sri Kanth Deva. Only couple of songs rendered by SPB is cool, but then picturesqueness spoils the entire work.

There isn’t anything to praise about debutant Ravi and looks like he should have been vividly influenced by Bollywood’s Rajashree Banners who churned out ‘Hum Aapke Hain Kaun’, ‘Vivaah’ and family stories that were blockbusters there.

Bottom - Line: Disappointing flick

Saamida - Tamil Movie Review

Star-casts: Sembi, Thanushya, Amsadevi, Rahasiya and many others.
Banner: Creative Talkies
Production: Poorna Priya
Direction: Vadivudaiyan
Music: Indrajith
Cinematography: Sri Srinivasa Reddy
Music: Raja Mani

Saamida

The film had raised the expectations of miniscule audiences with the promos of ‘The entire film has been shot at locales in Kasi’. Perhaps, with Bala’s Naan Kadavul hitting screens by next month, where the entire film has been shot in Kasi and Varanasi too, ‘Saamida’ could get to the attention of few audiences.

Vadivudaiyan has handled story, screenplay, dialogues and direction with attempts of savoring to the tastes of audiences. But does he make it big or go disappointed? Better we can this as a mediocre where the script is rigid while flimsy screenplays eclipse the finest attributes.

The film opens with Maaji (Amsadevi) getting out of prison after 14 yrs and narrating her life story to a writer. Well, it all starts off with our expectations about experiencing a bit of surprising climax.

Way on with Maaji narrates her tale, it’s a flashback where Maaji is a small teenage girl (Neepa) suffering from hungriness in Rama Puram. Soon she is forced and sold out at Red Light Area in Mumbai and as she grows, run her livelihood being a sex-worker. One of her frequent customers marries her after falling in love. But, that doesn’t put an end to the deplorable time of her as soon her lovable husband is stabbed to death as she witnesses it. Unable to bear his death, she soon turns into a bigwig where entire drug-dealings and other illegal activities are carried under her control. A small guy rose by Maaji turns to be her right hand and he does everything according to her words. Soon the grown up guy Saami (Sembi) falls in love with an innocent girl (Thanushya)…

But sooner, Maaji gets to know about it and tries to alienate Saami from Thanushya. Will she be able to get the things under her control or is there something shocking awaited for her forms crux of the story.

Sembi does a decent job as he emotes flawlessly on all occasions. Don’t miss his performance while decides to put an end of Debutant Thanushya deserves good grasps, but she could’ve done merely furthermore better. Amsadevi deserves good appreciations on her part.

Director Vadivudaiyan is somewhat good in his directorial venture and he holds special mention for shifting the tale across various places of India. Yup! The tale travels across Pondicherry, Chalakudi, Ladahk, Himachal Pradesh, Mumbai and other exotic locations of Kasi. But there are lots of absurdities as it has no connectivity between certain sequences. Also why the heroine is so attracted to the protagonist is a billion dollar question? Does it mean that ‘Love is blind’?

Cinematographer Srinivasa Reddy has canned best shots of Kasi where certain real life incidents like nude saadhus with inhaling Ganjas. Musical score by Indrajith is not as enchanting as there are lots of songs and Director could’ve avoided this. Background score is good at certain points and can be regarded as good work.

On the whole, Director Vadivudaiyan has tried his level best in churning out a best film. But there is something more solidity lacking in film.

Bottom - Line: Fair to middling piece

Verdict: Below average

Bommalattam - Tamil Movie Review

Cast: Arjun, Nana Patekar, Kajal Agarwal   Director:  Barathiraja

Like aged and mellowed spirits, director Bharati Raja has matured and levitated towards one of his first loves - a whodunit.

His earlier suspense thriller “Sigappu Rojakkal” starring thespian Kamal Haasanwas a hit. Though not in the same class of Agatha Christie’s murder mysteries about showbiz personalities, “Bommalattam” is an experience that keeps one glued to the edge of the seat.

It concerns three murders with a single thread - its psychotic protagonist movie director Rana (Nana Patekar).

However, one is still to fathom the fixation of filmdom with the Central Bureau of Investigation (CBI), whose officer Varma (Arjun) unravels the plot in “Bommalattam”.

The story revolves around Rana, a seemingly clever murderer who leaves no clues behind to nail him. The cat and mouse game that follows keeps the audience guessing till the end.

The central, subtle theme of puppetry with enough indications of strings being pulled from an altogether unexpected quarter actually embellishes the film.

One comes out of the cinema hall with a hangover due to a scintillating performance by Patekar, whose histrionics pale “action king” Arjun into significance. Kajal, who makes a bow through this venture, has an easy screen presence.

Reshammiya’s music does not impress, but the background score is apt and takes the movie to a different plane.

Raja has handled his theme well and the stars know when they see a good script.

Cinematographer Kannan, a regular in all of Raja’s ventures, has done a perfect job.

There are picture postcard shots galore - the nicest part of a Raja movie.

Kannan deserves more than a pat on the back.

Silambattam movie reviews

The self-styled “little superstar” Silambarasan apes the mannerisms and diction of Tamil superstar Rajnikanth in “Silambattam” (stick fight), but sadly, the young actor lacks the senior icon’s charisma.

Silambarasan attempts to keep catcalling frontbenchers happy with a generous dose of vulgar jokes and scenes, but it is enough to make family audiences squirm despite the censors’ scissoring.

The routine storyline revolves around an ordinary, law-abiding Brahmin youth Vichchu (Silambarasan) morphing into a one-man vigilante army following the violence unleashed by a politician (Kishore, who is wasted in the role).

The politician is attempting to corrupt the youth by building a beer factory in the countryside.

Then a local rowdy, Dorai (Prabhu), emerges on the scene from a long incarceration, introducing a tepid mystery element to the storyline as Vichchu is a look-alike of the jailbird’s sibling, who was murdered earlier.

The vendetta unleashed by the so-called good guys makes for a predictable climax.

Despite his aping efforts and risqué jokes, Silambarasan has breathed life into his character.

The hackneyed script, prop-like roles of the heroines Sana Khan and Snehasnag the proceedings.

Director Saravanan has acquitted himself slightly better while wielding the camera.

The background score is passable. Though all the songs belong to the latest Tamil music genre called “Kuththuppaattu”, comprising a fast beat and lewd movements by performers, the attempts of Yuvan Shankar Raja fail to evoke adequate responses from the audience.

There is nothing to write home about in this routine film except that it is a wasted attempt by Silambarasan to ape another star Ajith during the climax - an act that would certainly irritate the latter’s fans.

Abhiyum Naanum - Review

Star-casts: Prakash Raj, Trisha, Aishwarya, Prithviraj, Thalaivasal Vijay and others.
Banner: Duet Movies
Production: Prakash Raj
Direction: Radha Mohan
Music: Vidhyasagar
Cinematography: Preetha

Abhiyum Naanum

‘Emotions’ are inborn amongst everyone. Getting bonded with a particular relationship so closely shores everyone when that loved individual departs. ‘Every man is reborn when their children. Perhaps, Children grow so faster while dads remain same that exposes them to various emotions of joys, pains, surprises and shocks. They are introduced to a new world of many relations and it’s an unique feel’. Wow! Watching such theme on the screen gets us so excited about watching this film while on the screens, we see there’s something missing out.

The film opens with Raghumaran, a middle aged person coming across an youngster (Prithviraj) who’s out there with his cute little daughter in park. There begins the handshake between these two as Raghumaran starts narrating the affectionate tale of his daughter Abhi (Trisha). It’s glimpsing back through the happy days with his wife Anu (Aishwarya) and daughter Abhi. It’s about Raghu’s life changing with Abhi’s growth till her marriage with loved one.

Prakash Raj’s performance is so naturalistic in all aspects. Be it his humorous interaction with everyone especially Mano Bala, his wife and everyone else. His emotional outburst with his daughter’s separation, irritations towards his son-in-law Jogindar Singh (Ganesh Venkataraman) initially is great. Trisha’s role is completely in contrast from her previous ventures where she completely believed on skin shows. Though she doesn’t brim up with commendable performance, but thanks for not wearing micro mini dress and dancing with complicated steps that doesn’t suit her. Aishwarya lives under the skin of her character a mother who’s so practical. Watch her while speaking in emotions with her husband before night of Trisha’s marriage, they’re awesome and dialogues go straight onto us. Thalaivasal Vijay, the one playing his wife’s role and a beggar by character named Ravi Shashtri is brilliantly depicted.

Vidhyasagar can better quit scoring music as he’s completely running out of good tunes. None of the songs are worthy listening to and Radha Mohan could have avoided such songs that scatter attention. Capturing the shots of Ooty with toning and grading works in post production, Preetha hasn’t cranked anything special with her camera. Dialogues penned by C.P.Narayann and R.Subramanian’s are extremely extraordinary and sparkles the entire film with brightness.

However Radha Mohan is so annoying us spelling ridiculous stuffs like sitting on a boat mid of lake at mid night on a full moon day. Why the full moon can’t be spotted from the house terrace. The director must understand few things would really go as bonkers if turned into pictures. They are good to read on novels.

‘Sardarji incident’ narrated by Thalaivasal Vijay, story about Singh’s relatives revealed, Prakash Raj being getting stomachache on the day of marriage are something realistic….

As a whole, Abhiyum Naanum isn’t a flick that deserves 100/100 but a good attempt by Prakash Raj and Radha Mohan deserves special mention.

Thiruvannamalai - Movie Review

Star-casts: Arjun, Pooja Gandhi, Karunaas, Sai Kumar, Sudha and many others
Banner: Kavithalaya Productions
Production: K. Balachandar, Pushpa Kandasamy
Direction: Perarasu
Music: Srikanth Deva

It’s a grand fiesta for all the fans of Perarasu and Action King Arjun. What else can you expect more from this combo other than lots of punch dialogues, Kuthu songs, comedy tracks, unlimited fight sequences, with cameras turning up and down and left and right? Sometimes, it may knockdown you causing nausea if you are seated at the front rows while watching this film. The film has nothing such called an impressive storyline with a kinky theme, but a clichéd commercial masala of hero fighting against baddie and winning the hearts of people.

The film opens with a big clash between Eeswaran (Arjun) and a local MLA (Sai Kumar). Later follows the film involving Eeswaran contesting for elections against the MLA and putting down their evil deeds. Unbearable to his son’s actions, Eeswaran’s mother takes him for a Thiruvannamalai where a Saadhu (Arjun himself) offers him blessings and advice. His statement is about settling down bad things with peaceful approach while Eeswaran has no idea about it. As a matter of fact, both of them agree to interchange their places to experience the different scenarios and rest of the film follows action packed Jyothi where everyone’s seat burn hot…

Arjun with his usual performance on dual roles as a Swamiji and a local cable TV operator. What a directorial by Perarasu? He is worthy bagging the most prestigious awards of ‘Golden Globe’, ‘Oscars’ and what not? Better he can make disclaims at beginning of the film that it’s a pure entertainer for cheap audiences and of towns and villages. It’s very funny with the introduction of Arjun on why he tears cloth where child is laid….

How long will the villains keep yelling at a loud voice like a half drunk gorillas are an unanswerable question. The motif was quite good when Saadhu and a lay man agree to shift their locations for different experiences. But finally, getting to watch Saadhu displaying his Kung Fu and stunning fights are ridiculous. What does he want to convey for the audiences? Is it only through bad force of action and evil that a person can put an end to evil forces?

Musical score by Srikanth Deva is again a great torture for the audiences. Can’t this man score music at least a song favorable for audiences? None of these songs in the recent venture including this one is really nice. Ditto to his background score where he uses ‘Danda Danda’ as the background music. Even for the most patriotic song like ‘Sare Jahan Se Accha’, this brainless musician blends them with a fast beat Kuthu rock while Arjun shows the pictures of Mahatma, MGR, and Rajnikanth to Pooja Gandhi.Cinematography by Padmesh doesn’t work more and of course you expect more than such work for a commercial film.

On the whole, it’s a ridiculous film to watch for miniscule audiences who are fond of watching avant-garde filmmakers. While for other centres, it’s a great commercial Panchamirutham…

Bottom - Line: Cold-cocking your brains

Tamil Movie Review Panchamirtham Review

Panchamritham is cinematographer Raju Easwaran’s debut film as a director and is produced by Abirami Ramnathan. It is based on the fantasy television serial, ‘Mayavi Mareechan’ telecast on Sun TV.

Taking a leaf from Hindu mythology, it revolves around Mareecha, (Jayaram) Ravanan’s brother and Idumban (Raju Easwaran). Mareecha and Idumban both love Mandakini (Samiksha). But Mandakini loves Mareecha. Hence Mareecha and Idumban often cross swords with each other.

Mareecha in the guise of a deer to attract Sita is killed by Lord Rama and according to a curse turns into a rock. Years later, cut to the present day, he is freed from this curse, when Sita, (Saranya Mohan) a young woman falls on this rock. Mareecha takes it upon himself to protect Sita at all times. Sita works as a secretary to Rajaram, (Nasser) an estate owner.

When she realizes that Rajaram’s relatives were milking him of his wealth, she tightens the purse strings, thereby earning their wrath. And in order to kill her, the relatives hire Pandi, (Karunas) who butchers goats for a living.

With so many comedians, this film is a slapstick comedy. The story gets a new twist when Idumban, is released from his curse and he seeks revenge on Mareecha.

With children as its target audience, the film entertains. And of course the special effects.

Nasser in a dual role is at his usual best. Saranya looks fresh and appealing. Karuna entertains.

Tamil Movie Review Naan Kadavul Movie

Banner: Vasan Visual Venture

Production: KS Srinivasan

Star-casts: Arya, Pooja, Azhagam Thamizhmani and over 175 new faces.

Story, screenplay and Direction: Bala

Dialogues: Jaya Mohan

Music: Ilayaraja

Lyrics: Naan Kadavul

Cinematography: Arthur A Wilson

Art: Krishnamurthy

Stunts: Super Subbarayan

Effects: Raju

Editing: Suresh Urs

Naan Kadavul

Each and every flick he makes has something really bold and beautiful. The unique theme he brims up with offers a stunning surprise for his viewers. Well, it’s more illustrious with his previous ventures of ‘Sedhu’, ‘Nanda’ and ‘Pithamaghan’. These flicks were shot merely within short period while this fourth directorial ‘Naan Kadavul’ took a very long time around 3 years to get completed. His mantra of ‘Slow and steady makes the work perfect’ should have urged him to do.

Finally, shooting for the film has been completed and patch-up works in production works are pending now. Arya and Pooja who had been coming up with clichéd roles as peppy youngsters have something more different here.

Like in his previous films, Bala centres ‘Naan Kadavul’ on emotional quotients of lost love and affection. For spiritual and astrological meliorations, an arrogant father excogitates and sends his son out of the house. The abandoned son (Aarya) grows up in the midst of Saadhus and Sanyasis. Turning one amongst them with long hairs and gory looks he has forgotten everything about world. Meanwhile his father realizing that he had committed blunders goes in search of him now. Getting to see his son in such a state, he is so shocked and decides taking him back.

Rest of the story is about the estranged son getting back to Tamil Nadu and series of events that happens in Vaarnasi after he leaves the place.

The newcomers in the movie include Rajendran, a popular stunt artiste, director Singampuli, producer Azhagam Thamizhmani, an eunuch Keerthana and a physically challenged singer Kovai Krishnamurthy. Keerthana hails from Madurai.

For the first time, we don’t have Bala penning dialogues for his film while Tamil literary composer Jaya Mohan takes on that task.

Actress Pooja for the first time dubs in her own voice and Director Bala wanted her to do with attempts of fetching her National Awards. Lyricist Vaali who had penned lyrics in appraisals of Lord Vishnu in Kamal Haasan’s ‘Dasavatharam’ has composed lyrics in appraisal of Lord Shiva over here.

Super Subbarayan’s stunts would be a stunning highlight in this film and climax fight sequence was shot nearly for 26days. Acharya Ravi, Singam Puli and Rassaiya Kannan have worked along with Bala as associate directors.

Censor Board officials will watch the film on November 30 and plans are to release it on Pongal. Since movies with Digital Interlude (DI) are not considered for National awards, both the cinematographer and the director have not used DI in the film.

Producers would be releasing the film simultaneously in Tamil and Telugu. A total of 450 physically challenged children and elders form part of the movie. Bala was felicitated for his mammoth effort on World Handicapped Day celebrations recently… Over 48 physically challenged persons, who know nothing about cinema had been to Chennai to dub in their own voice. A team of doctors attended them in case of emergency during the shoot.

Musical Maestro was joined by acclaimed Bollywood composer Uttam Singh for re-recording. For the first time, a full-fledged song in Sanskrit feature in the movie

The movie has been shot in Varanasi, Kasi, Kanchipuram and Periyakulam….