Vaada Poda Nanbargal Review Tamil Movie : Horrible

Friendship, destiny and sheer coincidence; these are the three most prominent players in Vaada Poda Nanbargal. Directed by debutante Manigai, and consisting predominantly fresh faces in lead roles, Vaada Poda Nanbargal tells the story of friendship of two young men from vastly different backgrounds. The title suggests a fun filled account of a friendship where both the boys involved are on back-slapping terms with each other.

There have been many films in the past which have used the universal theme of friendship to reach out to audiences even without the presence of any stars. Vaada Poda Nanbargal also looks to travel along the same path. The difference here being that the two friends have not seen each other; their friendship starts from the current generation’s favourite online hobby – the chat, and grows through other modes of telecommunication like the mobile phone etc. The director must be acknowledged for being very contemporary here. But, what good is an online friendship, one might ask. How much faith and connection would such friends have in each other? This friendship too is like that to start with. But, a fortunate turn of events, thanks to technology and photo sharing, makes one of them regain something very valuable in his life which makes him greatly indebted to his friend. That is where the bind gets stronger. But, an online friendship, does have its own limitations. The very technology that made them friends in the first place also plays spoilsport; online identities which are far removed from real life; and threatens to mar the relationship, again through a thoroughly unexpected sequence of events.

At the outset, the premise does look interesting – friends who have never seen each other! This kind of concept has worked before; except it was not about friends, but lovers. Here the director fails to create the same suspense or magic which goes with a very strong relationship where the people involved have not seen each other. Part of the reason for that is the sequence of events in the script. A linear pattern of narration makes the goings on very plain. Also, the director has not been able to make the audience feel the depth of the friendship which works against the movie. More importantly, the sequence of events which leads to the strengthening of the friendship looks far too serendipitous to digest easily. Likewise, the event that leads to the final face off also looks a bit trivial; a matter of stretching a minor quarrel too far. Another major drawback of the film is the failure to build effective characters sketches of any of the protagonist. Even though the film shows the daily personal lives of both the friends, the sequences look disjointed, fragmented and ultimately have very little bearing on the friendship and ultimately the plot. Most of the parts where the script wanders out of the friendship track and into the personal lives of the protagonists can be considered as pretty inconsequential portions of the film. On the whole, it is a script that lacks cohesion that has spoilt the party for Vaada Poda Nanbargal.

The film does give the look and feel of one that has been brought out by a bunch of newcomers. They have tried hard, no doubt, but have failed to reach the professional level of film making. Almost all departments, camera, editing, re-recording, are a notch below what would be considered par in Kollywood at present. The fresh faces on screen too have not made a great impression, though one cannot fault the earnestness of their attempts. Music by debutante Siddharth also does not stand the movie in any great stead.

Vaada Poda Nanbargal is an account of two friends which fails due to a general lack of focus in the script.

Verdict : This friendship lacks cohesion! - Rating : 1.5/5

Courtesy : BehindWoods

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Review Arjunan Sakshi Malayalam Movie : Worth Watch

Director Ranjith Sankar, who surprised everyone with the well made movie Passenger is back with Arjunan Saakshi. The film starring Prithviraj and Ann Augustine talks about the need to be responsible and vigilant citizens in this country.

Roy Mathew (Prithviraj) is an architect, who has lived outside Kerala for most of his life, but has come back to his home-town to join a real estate firm. Meanwhile, a journalist Anjali Menon (Ann Augustine) gets into trouble when she publishes a letter from an unknown person called Arjunan, who has some crucial clues concerning the murder of the former district collector Firoze Mooppan (Mukesh). Soon after, Roy starts hogging the limelight as he is mistaken for ‘Arjunan’. The young man is totally shaken up by the sudden happenings as he has no real idea about the dramatic turnaround of events and he is soon targeted by some goons.

Well, we won’t play spoilsport and reveal much about the story as the highlight of the film is some of the surprising twists in the first half. In fact the initial scenes are genuinely thrilling and there are some really nice moments that hit you straightaway with its sincerity. However, the second half has less twists and turns compared to the first.

Ranjith, who has written the script besides directing it, has infused honesty into the story and has some genuine message to convey. The way in which Roy gets into the psyche of Arjunan is indeed interesting. But things get a bit preachy and predictable, especially towards the end and the script has some loose ends which raises question marks on the minds of the viewers. One of the highlights of the film is the spectacular visuals by Ajayan Vincent. Biji Bal’s music is good as well.

The anxieties of any “ordinary” citizen who can do nothing much other than rue about corruption and nepotism in our country, is perhaps reflected through Prithviraj’s character. The hero looks fine and delivers a nice performance. Ann Augustine, who shot into fame with her title role in Elsamma Enna Aankutty, is fine. The rest of the cast have also done their roles well.

No two ways about it, Arjunan Saakshi is certainly in a different league, when compared to the usual crop of films that we see in Malayalam nowadays. Still, one gets the feeling that the film is more inclined to the social issues which are being focused rather than on a gripping, cinematic experience. It makes you think about the state of affairs around you, which may be an achievement in itself.

Verdict: Watchable - Rating : 3/5 - Courtesy : MovieBuzz @ Sify

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Review Dil Toh Baccha Hai Ji Movie : Not So Good

ARTICLE COURTESY : SONIA CHOPRA @ SIFY

Dil Toh Baccha Hai Ji trails the lives of three characters you don’t quite like instantly.At the bottom of the heap is Abhay (Emraan Hashmi) who, as a gym instructor, hits on his clients. Then there’s Milind Kelkar (Omi Vaidya) who falls for an ambitious RJ and finally, a bank executive Naren (Ajay Devgn) who falls for new intern June Pinto. A bit like Shaukeen (1981) that had elderly men compete with each other for the attention of a young girl, this film has the three central characters go through a love cycle of their own.

Going through a divorce, Naren now aged 38, finds himself attracted to the new intern in office. June (Shazahn Padamsee) is 20-something but behaves like an overexcited adolescent. She drags her `boss-y’ to parties, changes into a revealing top seated next to him in the car, asks him when he lost his `V’(virginity), invites him home for dinner and so on. The boss gets led on, only to find a surprise in store. His makeover for getting June’s attention has Abhay comment on how he transformed from Doordarshan to MTV.

Meanwhile Abhay gets involved with a married ex-model (Tisca Chopra) only to fall in love with her step-daughter (Shruti Hassan). In the film’s unintentionally funniest scenes, Abhay crashes in on her NGO press conference and asks in the packed room `do you believe in love’.

Milind, who has been saving up for his marriage, is besotted with an RJ (Shraddha Das) who has ambitions of becoming a heroine. She prefers him as a friend, but his eagerness to help gets the better of her.

Dil Toh Baccha Hai Ji’s three protagonists get a moral science lesson at the end of the film. But it all ends happily.

Madhur Bhandarkar (Page 3, Chandni Bar), known for realistic films, transcends into comedy with DTBHJ. His debut into comedy draws a mixed response. The attempt is laudable. But the result, not quite. The storytelling exposes that Bhandarkar is still a rookie with this genre, and the lack of cohesiveness in the treatment is proof.

For laughs, you have lines like this character telling off a compulsive flirt: `Do you like cheese. Because your lines are very cheesy’. Or you have Bhandarkar’s standard homophobic jokes where a gay character can’t keep his hands off any man.

Of the cast, Ajay Devgn makes a mark with his restrained performance. Emraan Hashmi does his usual `charmer with the ladies’ act, and Omi Vaidya’s comic potential is underutilized. The girls make a mark only intermittently with Tisca Chopra and Shraddha Das standing out.

The film could have been sharper, funnier, sexier. Instead what you have are three erring men who get raps on their knuckles. Save the odd humorous line that pops in unexpectedly, the dialogue is just about serviceable. Watch it only if you must.

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Kanteerva Movie Review Kannada : Non-Stop Masala

Banner: Ramu Enterprises
Cast: Vijay, Shuba Poonja, Rishika Singh, Srinivasamurthy, Mukesh Rishi, Rahul Dev, Mandya Ramesh, Sadhu Kokila and others
Music: Chakri
Camera: Dasari Seenu
Director: Tushar Ranganath
Producer: Ramu
Release date: January 22, 2011
Courtesy : SIFY,BHARATSUDENT

The film is a remake of director S.S. Rajamouli's Telugu blockbuster Simhadhri and the makers have used the script and narration without changes. So much for the original thinking of Kannada film industry's top line producer and established director.

Director Tushar Ranganath, also a writer, has not changed anything in the original script. In his film, he has just cast Vijay in a role played by Junior NTR in the original film with elan. The two heroines have same characterisation and the villains, played by Mukesh Rishi and Rahul Dev, wear same costumes and carry the same menacing looks and hairdos.

Does Kanteerava succeeded in providing the same entertainment to the audience like the original? `No`.

Primarily Ramu and Ranganath made a mistake by going for a remake of Simhadhri because NTR's body language and rhetoric has a close resemblance to his much respected grandfather, legendary actor NTR.

But Vijay couldn't establish any sentimental connection with the audience. Ranganath's narration, which follows the same pattern seen in the original, is another handicap. Simhadhri was made at a time when making big action films was popular in the south, but now audiences are tired of action flicks and prefer soft love stories.

There is so much of mayhem, bloodshed in Kanteerava. It seems the film has used more artificial blood than any other films released in the past two years. The swords, sickles, axes and other forms of medieval weapons used to kill thousands of people on screen in the film makes you sick.

Apart from the brutality, the state of Kerala is shown as a land of blood thirsty warlords.

There is nothing special in the story.

Kanti or Kanteerava works as henchman for a rich landlord who looks after him as a son. He solves problems of the house. The landlord's young daughter Kasthuri has a crush on him. Kanti takes a trip to Kerala to solve a family problem of his trusted landlord. There he meets Indu, a mentally retarded girl who needs his protection.

Kanti is seen in a different `avatar` in Singamalai in Kerala when he wipes out all the villains in one go. Meanwhile, Indu recovers from her mental illness and tries to kill Kanti. Finally, the mystery surrounding Indu and the reasons behind Kanti's soft corner for her is revealed.

Vijay is certainly not a match to the histrionics or charisma of the younger NTR, though he seems to have worked hard in the action sequences. Rishika Singh is good, but Shubha Poonja has not matched the requirements of the role.

Bhoomika was really good in the original film.The comedy sequences of Vijay, Mandya Ramesh and Sadhu Kokila evoke laughter.Nothing much to say about the contribution made by two Bollywood baddies, Mukesh Rishi and Rahul Dev, or the other veteran artists who are monotonous on screen.Chakri's music is another negative factor. Dasari Sreenivasa Rao's photography is above average.

Story : A remake tale, the story begins with Kanteerava (vijay) who is an orphan and he is very loyal to his boss Ramachandrappa (srinivasamurthy). However, an inevitable situation leads him to kill the son-in-law of Ramachandrappa and this shocks Indira (shuba) who loses her memory. From then on, Kanteerava takes care of Indra but in no time, she discovers the truth and almost kills Kanteerava. While recovering in the hospital, the flashback is revealed and Kanteerava is none other than Singamalai in Kerala, who is a god to the masses and a terror to the very cruel brothers Bala Sab and Bala Nair (mukesh rishi, rahul dev). What happens from there forms the rest of the story.

Presentation : The director has come up with a twist filled storyline and while the presentation was impacting, the narrative was apt. The dialogues were powerful at places, the script was sturdy and the screenplay was average. Background score was good but songs were a disappointment. Cinematography is the highlight of the film. Editing was average. Costumes were colorful while the art department was rich. Vijay comes up with a riveting performance and he excels in stunts and fight sequences. Shuba Punja needs to work on her figure but her performance was okay. Rishika Singh was a visual delight and her glamour feast was delicious to the masses. She looks ravishingly hot. Srinivasamurthy was dignified, Mukesh Rishi was loud, Rahul Dev was noisy, Mandya Ramesh and Sadhu Kokila gave few smiles.

Conclusion : The film happens to be a remake of the big blockbuster Telugu hit 'Simhadri' and though few changes have been made to suit the taste of the Kannada audience, the original flavour remains. While the first half goes about in a smooth way with elements of comedy and romance, it is the second half which takes a drastic turn and becomes violent. Overall, this is a film for action lovers and glamour lovers with pure masala formula. The film will become above average at the box office.

Rating: 2.5/5 - Total action feast!!

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Pathinaru Movie Review Tamil : Pleasant Journey

Starring: Shiva, Madhu Shalini
Direction: Sabapathy Dekshinamurthy
Music: Yuvan Shankar Raja
Production: A Shivashankar
Article Courtesy : Behindwoods

Director Sabapathy who gave films like VIP, Punnagai Poove is at the helm of directorial affairs in Passion Movie Makers Pathinaaru with Shiva and Madhu Shalini in the lead. The basic premise of Pathinaaru may not be anything new but its pragmatic approach to real life renders it a fresh feel.

Shiva and Madhu Shalini are like any other modern lovers who are completely smitten by each other. Madhu belongs to an affluent family whereas Siva is from a middle class background. When Madhu’s parents come to know about her love, instead of confronting and reprimanding her (as in usual films), they invite Shiva home and after a casual discussion bordering sometimes around taunt, hand over a book/diary titled ‘Pathinaaru’.

The contents in the book take us into a village flashback wherein the life of a teenage couple slowly unfolds. Circumstances play spoilsport in their life and separate the lovers. At this juncture, the identity of the lovers is revealed which makes the contemporary couple rethink about their decision. The choices they make and the path they opt to travel after this form the rest of Pathinaaru.

Understanding the psyche of the present generation, Sabapathy abstains from giving out advises but at the same time has put forth a very logical and practical standpoint in front of us. Steering clear from counsels against love, he gently points out the difficulties in real life and states that how just by being in love alone will not suffice to lead real life. This facet of love-life is pleasantly and sensibly delivered by the director.

Screenplay is enjoyable, adhering to linearity in most parts with unexpected twists to spice up the proceedings. Although the film centers on love and romance, there are no cringe worthy scenes or dialogues with double entendres. The interactions between father and daughter are interesting with a lucid portrayal of sensitive emotions running between the two.

However, it is difficult to fathom the characterization of a simple village girl in flash back who appears extremely strong enough to revolt against her parents and initiate her lover to impregnate her. These episodes are logic defying and evoke ambiguity. The film goes in to a slightly trough mode in these sequences which could have been avoided by the maker.

Shiva’s casual demeanor and dialogue delivery suit his character but his sporty image does not lend him a serious note even when he is mouthing solemn dialogues. Madhushalini (Palaniappa Kalloori fame) is adequate in her role. Abhishek as Madhushalini’s father delivers an effective performance and so does his wife. Darbuga Shiva and Pondy adorn the supporting cast with Kasthuri doing a small cameo once again.

In Yuvan Shankar Raja’s youthful music, Ada da en meethu and Yaar solli kaadhal make an impact. Camera and editing departments have given what is needed for the film. In all, Sabapathy’s Pathinaaru comes across as a pleasant journey through life sans any superfluous frills.

Verdict : Non-Judgmental Lessons On Love-life Rating : 3/5

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Malayalam Movie Kudumbasree Travels Review

Courtesy : Moviebuzz @ sify

Debutant director Kiran’s Kudumbasree Travels is meant to be a fun ride from the word go. Well, there is a decent storyline and some twists which are intended to give it a serious look but the problem is that one can find only a few genuinely hilarious scenes in this comedy!

Aravindan (Jayaram) is a Chakyarkoothu artiste living in a remote village. His uncle, played by Jagathy Sreekumar, wants him to marry his daughter. But Aravindan is adamant that he would tie the knot only with a Nangiarkoothu artiste.

Finally, he finds the right match in Aswathy (Bhavana), who lives in a plush apartment in Kochi, but is very particular about the traditional values. Now, the groom and his party start their journey in an old bus called ‘Kudumbasree Travels’ to the city, for the wedding. Meanwhile a young girl (played by Radhika) becomes part of the journey, but she is there with a mission.

With a rather old fashioned storyline and presentation, the film has its ups and downs, just as in a roller coaster ride. Some of the characters, evidently included for some laughs, end up looking half-baked, contrived and boring. There are some scenes which could have been developed into nicer situations, but looks surprisingly dull.

Jayaram has nothing much to do in the whole film and he shines whenever given a chance. It is a pity that such a gifted mimicry artiste like Jayaram hasn’t been used well in this humorous film, though he is the hero. Bhavana too has nothing much to do other than to pose as a bridegroom, most of the time. The rest of the cast have done a decent job. The camera by Murali Raman and the music by Biji Bal are okay.

If your idea of entertainment is a mindless comedy, the kind which you see repeatedly on TV, Kudumbasree Travels could be a watchable fare at best. For the rest of you who are looking for some quality humour, this might not be for you. Now you decide to which category you belong to.

Verdict: Lowbrow comedy - Rating : 2/5

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Malayalam Movie The Metro Review : Definite Blockbuster

Courtesy : Moviebuzz @ SIFY

Director Bipin Prabhakar and debutant writer Vyasan Edavanakad’s The Metro intertwines three incidents happening in Kochi. The main focus is the coldblooded murder of a young politician, then a brawl at a restaurant that turns ugly and finally, a five member group of youngsters who becomes part of the muddle just by chance. Well, the basic plot shows promise and there are some nice moments as well, but the film as a whole fails to make much of an impact.

CI Jacob Alexander (Sarath Kumar) is a one man army against the politician-underworld nexus in Kochi and invites the wrath of the powerful and the mighty. He is all set to nab the dreaded don Paruthikkadan Shaji (Suresh Krishna), who killed a young politician Jaimy Padamadan.

Meanwhile five youngsters led by Harikrishnan (Nivin Pauly), who has come from the Gulf on a vacation, goes for a trip from Thiruvilwamala to Pala. While having food at a restaurant, they save a techie named Anupama (Bhavana), from a gang who tries to run away with her bag. Later, the boys have a nice time in Pala but on the way back, things go horribly wrong, when some unexpected happenings change their lives forever.

Vyasan Edavanakkad’s script takes some sweet time, especially in the first half, to find its focus. But the film looks more engaging in the second half. Still, a highly conventional narration, the surprisingly predictable developments and the scenes and dialogues which have been taken straight out of many old movies disappoints in general. The visuals are fine and the music is okay in parts.

Sarath Kumar, who became quite a sensation by playing the character Edachena Kunkan in Pazhassi Raja, looks totally out of place and his dubbed voice (by Biju Menon) doesn’t help things either. Suresh Krishna is fine as the tough don and so is the five member group, which includes Nivin Pauly, Bhagath Manuel, Suraj Venjarammoodu, Biyon and Arun. Bhavana has nothing much to do other than to look pretty.

Though it includes every trick in the age-old ‘commercial recipe to make a hit movie’ like fights, long dialogues and an item dance among others, The Metro gives the feeling that here is one film which could have been better. If you don’t think too much about nuances like the plot and presentation, the film may turn out to be a fine watch as well. Now the choice is yours!

Rating : 4/5


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Telugu Movie Ala Modalayindi Review : Nice Fun

Courtesy : Telugucinema.com

Ala ModalaindiA young chap Gautham (Nani) is on his way to Bangalore to stop his girlfriend`s marriage. En route, he is kidnapped by John (Ashish Vidhyardhi).

Gautham tells him that he works with a TV channel. He was earlier in love with a girl (Kriti) who she ditches him for a doctor. On the wedding day of his former girl friend, he meets a drunken girl Nitya (Nitya Menon) who happens to be the former girlfriend of the doctor.

Soon friendship blossoms between Nitya and Gautham. As the days pass by, Gautham falls in love with Nitya and when he is about to propose, enters Nitya's fiancée. More such twists and turns follow till the climax. In the end, will Gautham and Nitya meet or separate forever?

Nandini Reddy`s plot is simple but her screenplay is knitted with many twists and turns and that makes the movie a pleasant watch.At the end of the interval, Asish Vidyaradhi says: "Nee Katha Param routine Gaa undi" (your story is very predictable) and we get the same feeling at that juncture but post interval the movie gets even more interesting.

The movie bores you sometimes and gets funny towards the end.Naani brings some verve to the dull moments with his performance. But his beard and looks are not consistent.

Nitya Menon scores in performance although she is not that glamorous. But she should have chosen better clothes. But the real scene-stealer is Ramesh who plays the role of drunkard software engineer looking for a job.

He is hilarious and livens up the scenes with his perfect coming timing. Ashish Vidhyaradhi also provides good comedy in the end. Director Uppalapati Narayana Rao is okay in the role of the father.

After a long gap, we see Rohini (plays mother to Naani) in this movie. Chaitanya, Sneha Ullal and Kriti play cameo roles and they have done justice to their small roles.

On technical front, the movie is dogged by bad visuals. Arjun Jena's camera work is unimpressive. Two songs by Kalyani Malik are good to ears.

Lakshmi Bhoopal's dialogues are effective. As a director Nandini Reddy shows spark in handling comedy scenes. Like her guru, she has also extracted some cute expressions from the heroine.

Ala Modalaindi can be watched once for its comedy in the second half. The twists and turns are also novel. But on the whole, it is just an average flick.

Rating : 3/5 - This one for sure is a one time watch though.

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Kannada Movie Review Olave Mandara : Too Good

Courtesy : R.G.Vijaysarathy @ SIFY

Director : Jayathirtha
Producer : Govindaraju
Cast : Shrikanth, Akanksha Manasurkar, Rangayana Raghu, Veena Sundar, Sharan

Olave Mandara directed by debutant director Jayathirtha is certainly one of the best Kannada films to hit the screen in the recent months.Jayathirtha delivers a touching film which is not only engrossing but also upholds the value of pure love and human spirit. The film has a fresh concept neatly told using contemporary technical inputs. There is no dull moment after the initial fifteen minutes.

The strength of the film lies in its content which paves way to many small but touching incidents which define the journey of the hero.The story revolves around the love between Sreeki of Karnataka and Preethi from Assam who meet during a National Dance Competition held at Coimbatore.

Sreeki who is a serial lover undergoes a transformation thanks to Preethi. He promises Preethi that he will visit Raniganj to meet her mother and convince her to get them married. But he loses his credit cards, purse and mobile.

While crossing the states and its interiors he comes across many who make him realise the true value of love. But does he get to Raniganj without any money? Will her mother agree to their wedding?....

New comer Srikanth shows signs of becoming a good actor. He breathes life both as a dancer and in the action sequences of the film. He shines well in the emotional sequences too. Akanksha is a treat to watch. Rangayana Raghu and Veena Sundar have put in their best too.

Cameraman Ravi Kumar has done exceptional work in capturing the beautiful visuals of the nine states where the film was shot. Music is top class and Deva should be complimented for a fine background score and melodious music compositions. Jayathirtha's dialogues are meaningful and all the lyric writers of the film have to be complimented for writing such wonderful lyrics.

Olave Mandara is a beautiful film that genuine film lovers cannot afford to miss. This film will certainly create a new bench mark in the way youthful love stories can be told on screen.

Rating: 4/5 - One Of Those Rare Kannada Movies

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Hindi Movie Review Dhobi Ghat Mumbai Dreams

COURTESY : Taran Adarsh/IndiaFM

Director : Kiran Rao
Cast : Prateik, Monica Dogra, Kriti Malhotra, Aamir Khan, Kittu Gidwani

Irrespective of its genre, an Aamir Khan production is looked forward to with enthusiasm. Films like Lagaan, Taare Zameen Par, Jaane Tu Ya Jaane Na and Peepli [LIVE] have redefined cinema and, in their own small way, prompted film-makers to think beyond the stereotype.

That automatically raises the bar for AKP's new endeavour Dhobi Ghat.

Mumbai - this vivacious, lively and spirited city - has inspired many a film-maker, novelist, writer, playwright, and poet in the past. Kiran Rao's Dhobi Ghat takes a look at four different characters in this dynamic city.

Interestingly, instead of opting for the usual candy floss entertainer in her directorial debut, Kiran chooses to make a film that's very real, and also that comes across as personal memoirs that have found a place on celluloid. It's more of a video diary on the inhabitants of this bustling metropolis.

More importantly, this is a story about four different people and how their lives crisscross in this voyage and how they cope with yearning, solitude, affection, friendship and loss.

To me, Mumbai comes across as the fifth character in the film. The constant clamour of traffic, the sea of people, the energetic street life and the heavy and torrential rains dominate the goings-on from start to end.

In fact, Mumbai comes across as a silent spectator, watching each of those four characters mutely. Much like a septuagenarian [Aamir Khan's neighbour] in the film.

Sure, we got a flash of the assorted people of this city in Slumdog Millionaire, but Dhobi Ghat doesn't follow the conventional route. It is far more subtle and restrained.

Dhobi Ghat [Mumbai Diaries] is the story of four people from very different backgrounds, whose worlds intersect and leave them forever altered. As they find themselves drawn into compelling relationships, the city finds its way into the crevices of their lives, separating them even as it brings them closer.

The characters are real and so are their stories, their emotions, their relationships, their smiles, their tears, their dreams, their desires, their fears and their tragedies.

Fragments of their experience - seen through a naive video diary, black and white photographic images and painting - form a portrait of Mumbai and its people bound together as they journey through longing, loneliness, loss and love.

Kiran Rao encompasses emotions, dreams and aspirations most convincingly. In fact, every sequence of Dhobi Ghat tells a story, every image matters and that, in my opinion, makes this first attempt by Kiran nothing short of an achievement.

Filmed in guerrilla style, with hand-held cameras and moving shots, Dhobi Ghat captures the real flavour of this populous city.

Generally, film-makers try to stick to the right frames and procure permissions for the most eye-catching location, but not here. From opulent and classy apartments to the slums, Dhobi Ghat is an authentic piece of work.

Dhobi Ghat catapults Kiran Rao alongside the likes of accomplished storytellers like Mira Nair and Deepa Mehta with her intensely intelligent script. Besides throwing light on the daily routine of these characters, Dhobi Ghat juggles a recent past and the present time skilfully.

Also, this one's a love story inherently; not a triangle, but a square. In fact, each of the characters is vividly sketched and each of them long or aspire for that someone special. Thanks to a watertight screenplay and eye for detail, Kiran's characters feel, look and sound genuine.

Cinematographer Tushar Kanti Ray shoots the film as if one were watching the story unspool live in front of one's own eyes. Academy Award winning Argentine composer Gustavo Santaolalla's [Brokeback Mountain, Babel] background score is captivating, also non-Indian, yet fits the varied moods, from melancholy to elation, admirably.

The sole area where the film fumbles is its pacing at places. The results would've been even more impactful if the film was tightened a bit on the editing table.

The film marks the debut of Monica Dogra and Kriti Malhotra, who are exceptional and deliver natural performances.

As for Prateik, the ease with which he speaks the slum lingo or converses with his pal, or the gentle tone while speaking to the woman he loves [the urbane and classy Shai] proves what a dependable actor he is.

The most memorable sequence for me is one when Prateik chases Shai's car. There's no doubt that he's a complete scene-stealer and a star in the making. His unconventional looks and captivating personality only adds to his performance.

Very much like his performance in Taare Zameen Par, Aamir very willingly lets his co-actors eclipse him. Sure, he's super as a cloistered artist, but this film is not about Aamir Khan, the superstar. It's primarily about four stories, with Aamir merely enacting one of the four pivotal characters.

Kittu Gidwani is alright. The actor enacting the role of Prateik's friend does a fine job.

On the whole, Dhobi Ghat is an imposing and vibrant cinematic portrait, appending itself to the new wave of independent Indian cinema which I am extremely pleased to applaud.

It is art house cinema with European sensibilities, embellished with a well thought out story that's devoid of clichés.

This ingenious motion picture caters more to the intelligentsia and connoisseurs of world cinema and will therefore garner more patronage and benefaction from the metropolitan audience in India chiefly and global spectators predominantly.

Rating : 4 / 5 - Another Brilliant Film From Aamir's Production House

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English Movie Review No Strings Attached : Elegant

ARTICLE COURTESY : HOLLYWOOD.COM

Forget Black Swan – Natalie Portman’s real crowning performance is to be found in the romantic comedy No Strings Attached, in which director Ivan Reitman asks her to convey sincere, unqualified affection for Ashton Kutcher. Portman, much to her credit, gamely complies, and though she may not have the emaciated figure, bloody nails and bandaged ankles to tell of her labors, the psychic scars must no doubt be just as severe.

Exhibiting strong chick-flick leanings and a rambunctious, soft-R comic tone (i.e., lots of F-bombs, some menstrual humor, and a few shots of Kutcher’s naked ass), No Strings Attached is built around a basic relationship role-reversal: The dude, Adam (Kutcher), longs for a deeper, lasting commitment; the chick, Emma (Portman), insists on keeping matters purely physical. Emma’s motive is a practical one: As a doctor-to-be, her busy residency schedule, with its 80-hour work weeks and intensive exam preparations, precludes a serious relationship. But alas, a woman has certain needs (foreplay, apparently, not being among them), and who better to fulfill them than Kutcher’s non-threatening boy-toy?

Thus a “friends with benefits” arrangement is cemented, whereupon the ripcord is to be pulled on the occasion that either of them develops stronger feelings. This does not last long, for soon Adam is cloyingly lobbying for escalation. Emma demurs – not out of disinterest, we are told, but because she’s intimacy-averse and afraid of a broken heart. Why else would she resist a more permanent attachment to someone like Adam?

Perhaps it’s because Adam, as played by Kutcher, is about as interesting as cabbage. And yet No Strings Attached would have us believe he’s some kind of floppy-haired Albert Schweitzer. This despite the fact that his greatest aspiration in life is to join the writing staff of a High School Musical-esque television series, the shallow inanity of which is one of the film’s recurring jokes. In vain support of his cause, the filmmakers decorate Adam’s apartment with various props – vintage posters, books about 1920s movies, a guitar that is occasionally picked up but never actually played – that hint at a depth that Kutcher himself never manifests.

Still, Portman sells us on Adam and Emma’s inevitable union with every ounce of her not inconsiderable talent. (And her comic chops are legit – as those who’ve glimpsed her appearances on SNL and Funny or Die can attest.) But she asks too much. And Elizabeth Meriweather’s script, while witty and stocked with some keen observations on the evolving nature of relationships in the modern age, becomes weighed down by sentiment unbecoming an R-rated comedy not directed by Judd Apatow. In the end, Kutcher seals the increasingly contrived deal with the climactic line, “I’m warning you: Come one step closer, and I’m never letting you go,” (I’m paraphrasing, but not loosely) by which time the film's already lost its grip.

RATING : 4/5 - THIS ONE FOR SURE WILL CONNECT YOUR SOULS

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Telugu Movie Golkonda High School Review 2011

COURTESY : DOWNLOADSGURU

Movie Name : Golcond High School
Cast : Sumanth, Swathi, Subbaraju, Shafi
Director : Indraganti Mohana Krishna
Producer : P Ram Mohan
Banner : Art Beat Capital Pvt Ltd
Music : Kalyan Malik
Rating: 3/5

Sumanth, Swathi starrer Golconda High School is made inspired from the book ‘The Men With in’. Indraganti, who proved his mettle with Asta Chamma has come up with this sport-centric film. The whole movie is made on the backdrop of Golconda High school with cricket as the central theme. Here is the High school movie review.

Story

Golconda High school students were once champions in cricket. However, it looses its glory as the time passes by. Now, the trustee member Kireeth (subbaraju) plans to put an IIT coaching centre in GHS playground. The school principal Viswanatham (Tanikella Bharani) requests an alumini and cricket champion, Sampath (sumanth) to come as coach and bring the glory back. Sampath agrees to this and makes a challenge with Kireeth that if their team wins the trophy, the playground will be used for sports and Kireeth will resign as trustee, else the decision will be made by Kireeth. What happens from there forms the rest of the story.

Performances

Sumanth suited well for the role as cricket coach, but he could have come up with little fiery expressions in intense scenes.

Swathi suits well opposite Sumanth, but we have to say the role of a teacher(makeover) did not suit this bubbly girl. But the lady performed well in her limited role.

The performances of all the kids in the movie makes a strongest impression. Subbaraju and Shafi are perfect for their roles. Tanikella Bharani was good and Hema was brief

Technicalities

Background score by Kalyani Malik is an asset to the film. Sirivennela’s inspiring lyrics in songs need a special mention. Cinematography by Senthil was good and editing was nice and the dialogues were simple but could tried better. The screenplay at times seems to have lost its grip but the climax grabs everyone’s attention.

Final Verdict

Golconda High School is not exceptional,it just like many sport-centric films. Though the first half of the film fails to captivate viewers interest, the secod half of the movie goes with a positive note especially the final twenty minutes is executed well. GHS does not offer any commercial elements, but will be a good watch for families.

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Tamil Movie Ilaignan Review : Another Flop Show

There are, perhaps, very few movies in the film industry which get talked about most for the seniority and other accomplishments of its scriptwriter. Mostly, all the hype surrounding a film is about its hero and maybe its director. But, now, since it is Kalaignar who is penning a script for the 75th time, all the talk has been about the CM and his amazing ability to keep writing at his age in spite of having huge responsibilities. Down to the movie!

Ilaingan, set in the mid-19th century tells the story of the struggle of laborers against a feudalistic owner. He believes only in squashing workers under his feet, throwing them a pittance of a salary, mistreating them in every possible way and nipping any signs of resistance in the bud. He creates a generation of downtrodden laborers who are tired, overworked and angry, but unable to react or revolt against years of injustice. Destiny brings a man with courage into their midst. Does he change their fate?

Set very close to the first struggle for independence, Ilaingan is an attempt at recreating a period that is rarely seen in Tamil cinema. It would have made very interesting viewing if the period had been carefully and flawlessly reconstructed inch by inch. Instead, what we get is a half-baked reconstruction which looks authentic in parts and immature in others. A lack of consistency in maintaining the period feel throughout the movie dampens the viewing experience. Regarding the plot; it has got a lot of potential in creating excitement and inspiration in the audience; something that is realized to an extent by the screenplay. The narration firmly follows the central plot right from the start, there are very few detours. That is a good thing; but, being on a serious track throughout gets a bit tiring for the audience going into the second half. Also, there are no major peaks in the proceedings where the excitement levels sharply rise. There is a level of predictability in the course of action being taken by both the antagonist as well as the protagonist. But, there are moments where the director, crew and cast have worked together to create a few breathtaking spectacles.

The department that really seems to have worked overtime for Ilaingan is art. Thotta Tharani and his team have brought out some awe-inspiring sets. The big ship under construction is one of the most magnificent pieces of work seen in Tamil cinema over the last many years. Each and every frame shot around this edifice fills the screen and leaves you stunned. Also, the sheer number of junior artistes used in each of these scenes is awesome. Be it in ship construction or the final rebellion; the number of people involved just amazes you. Suresh Krissna must be commended for coordinating such huge elements shot-by-shot. The camera captures the canvas admirably well, but one cannot detect any consistent tone adopted to give a period feel. Costumes also lack consistency that would have enhanced the authenticity. Dialogues are not in the characteristic Kalaignar mould; he has chosen to go short and sharp this time and it works well. Only the climax portions show the classic Kalaignar lines.

The lead actor Pa. Vijay has done a neat job. The lyricist shows that he has potential to be a full-time actor. He scores especially well in the portions where his job is to inspire a generation of downtrodden people to rise above themselves and be heard; his dialogue delivery at these instances impresses. Heroines Remya Nambeesan and Meera Jasmine have only a few scenes between them where they have done fairly well. Suman looks imposing in the negative garb. Nasser, Khushbu, Ilavarasu etc… bring in their experience to elevate the movie. Vadivelu is hardly there; just a couple or so scenes. Vidyasagar’s tunes are not exceptional but ‘Imai Thoothane’ lingers in your mind.

Ilaingan is a movie that extols the virtues of communism; of workers demanding their rights and fighting for them. A good tight plot which seldom deviates, but is weighed down by a slightly plain graph of narration and a bit incomplete period recreation. It will be a good watch for those who enjoy strong-willed dramas.

Verdict: United we stand! - Rating : 1/5

courtesy : BehindWoods

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Movie Review Yamla Pagla Deewana : Kick Laugh

The film sportingly takes a dig at its own story. The beginning shows us how Hindi films of the 1970s and 1980s never tired of recycling the separated-brothers plot. And then the film starts with its own tale of bichde hue bhai.

Except here, there's a peg-happy dad (Dharmendra) playing the lovable semi-villain. Called Dharam Singh, this thug lives with his younger son Gajodhar (Bobby) and the two make a dishonest living conning people. They unwind over drinks at the local bar (that's two item songs for you), and have a heart-to-heart once in a while.

Meanwhile Dharam's older son Paramveer (Sunny) lives in Canada with his mother (Nafisa Ali), a shrieking blonde wife and their two kids. The two families haven't met or spoken with each other since decades. But when Paramveer learns that his father and brother are in Benares, he sets out to unite the family.

On reaching Benares, he meets the father-son swindler team and to win them over, Paramveer turns a partner-in-crime. Meanwhile Gajodhar has fallen for cutesy tourist photographer Sahiba (Kulraj Randhawa, of TV serial Kareena Kareena), and has to face the wrath of her trigger-happy brothers in Punjab.

The story is simple enough, and effortlessly folds in the romance. The part where the two brothers con their way and begin living in Sahiba's house is reminiscent of Dilwale Dulhaniya Le Jayenge.

But Yamla Pagla Deewana is less about the film, and more about the Deol trio. It's not every day that a famous father-sons team plays real-life roles on screen (the Deols were last seen together in Apne, 2007).

And the Deols do exceedingly well. Each has a definitive role. Dharmendra's characterisation of a lovable rogue is a bit wonky even as he lustily hits on foreign tourists calling them "meri Madonna". But his charm is still undiluted and untouched by age.

Sunny Deol is in form especially in the superbly choreographed action scenes. These scenes, reminiscent of Rajnikanth-style action, have Sunny being hit with a metal rod and the rod breaking, and pots being flung at him which he breaks one-by-one.

Bobby has the comedic and romantic portions where he performs uninhibitedly. Kulraj Randhawa makes a confident debut and is a talent to look out for.

The portions where the film falters are the seedy item songs and the ODing on maa-behen swearing. The second half is stronger than the first, where the pace falters constantly.

Samir Karnik (Kyun! Ho Gaya Na, Nanhe Jaisalmer, Heroes) makes a film that could have been indulgent but is not.

It may not be the slickest film around, but it's got the emotions and the laughs. Worth a watch!

Verdict: 3 stars - Courtesy : Sify

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Movie Review Kaavalan : Ilayathalapathy is Back....

It played hide and seek on Friday when all other Pongal releases arrived and it wasn’t even sure whether it would make it to theaters on Saturday. After facing many troubles from different sides, Kavalan finally hit the theaters. Coming at a time when Vijay is at a bit of a crossroad regarding the path he has to choose further in his career, Kavalan is crucial even while not being a grand venture.

Kavalan , remake of the Malayalam film Bodyguard, brings together the successful duo of Vijay and Siddique once again, not to mention the hit Vijay-Asin combination. Coming from Siddique, the man who gave us Friends, the expectations is of a Vijay starrer that would be rather different from the ones we have been offered lately. Kavalan is an emotionally narrated love story about a righteous and innocent man who is assigned the task of being a young woman’s bodyguard. He puts full faith and confidence in anything that he does; his love story too blossoms because of these qualities. But, unwittingly, the faith that he shows is taken advantage of in a way that no one would imagine. It is not with malice or any villainy that this is done; but out of love and admiration towards such an innocent person. It is love and destiny that play hero and villain in this story of relationships. The movie also subtly tells us that it is never good to leave things untold for too long in love.

Kavalan is redemption of sorts for Vijay – the actor. For the past couple of years or more, a lot of Tamil movie buffs have watched in dismay as he slipped further and further into a quagmire of senseless commercialism; sometimes not keeping up with the trend of change in the industry. But, Kavalan is a reminder to all of us, most importantly to many directors in the industry, that he can act; not just as the ‘savior hero’ or messiah of the masses, but as a person who feels love, happiness, sorrow and all other emotions. For the first time in a few years, a Vijay film is not only about its hero, but about the characters and relationships.

That is about Kavalan with respect to Vijay. But, how has the film shaped up otherwise? Its a fairly engaging, relatable, simple and sweet story of love which has an unexpected twist and an emotionally charged climax. Nothing that goes remotely close to commercial formulae, has been added here; which does not mean that this is an offbeat or art-house film. It is an entertainer all right; but one which looks to engage you more through the interplay of characters rather than grandeur. Shot and narrated with simplicity, it leaves you with a warm feeling in the heart because the director makes you empathize with the characters. At no point does the consistency of characterization get abandoned in an attempt to provide a few extra laughs or thrills. Fights, a couple, look every bit reasonable and comedy handled by Vadivelu and Vijay, puts a smile on your face but fails to make you burst out with laughter. On the flipside, the length of the film might work against it. It starts and keeps moving at a consistent pace (generally considered slow on the commercial scale) and never really accelerates. The final hour in particular would have looked much crisper with a bit of trimming. Even with very well conceived emotional scenes well enacted by the cast, one does feel a bit tired. A couple of songs towards the end too could have been better placed or even avoided.

This is a script which gives actors a lot of room to emote. Vijay has grabbed the chance with both hands. One wonders if it was his decision to stay away from ‘down to earth’ characters all these years, or the compulsions from a commercially driven industry. Kavalan is a throwback to the ‘Thulladha Manavum Thullum’ days of Vijay and we hope the days are here to stay. He has lived the character. Asin, in Tamil for the first time after Dasavatharam, convinces us with her portrayal. The chemistry of the lead pair has worked out well; especially the portions where Asin tries various ways to exasperate Vijay; things that ultimately result in love. Vadivelu evokes smiles and the occasional laugh. The rest of the cast including the experienced Raj Kiran and Roja add weight to the movie.

Camera, editing and all technical departments have adhered strictly to the requirements of the movie. Two compositions of Vidhyasagar make you hum along. Director Siddique shows excellent command over proceedings right through the movie.

Overall, Kavalan is a movie that defies all the preset notions of a Vijay starrer that have been built over the last couple of years. It is his return to the romantic hero mould and also a call to all directors of the industry to stop pre-meditating ‘over the top’ scripts for him. A relatable love story shot in a cute and simple manner, rich with emotions, but on the slow side of narration. Yes, there is nothing special, but nothing to grumble about either!

Rating : 4/5 Verdict: Vijay (re)turns romantic! Feel good – Feel emotional!

courtesy : behindwoods

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Movie Review Anaganaga O Dheerudu : Fairy Tale

Jeevi rating : 3.25/5 (Courtesy:idlebrain)
Punchline : Chandamama Katha
Genre : Adventure/Fantasy
Banner : ABODE Entertainment & Walt Disney

Anaganaga o dheerudu Irendri (Lakshmi Manchu) is a witch who takes over the world from her place - Angarajyam. Moksha (Baby Harshita) is a small girl who has special divine powers. Yodha (Siddharth) is a blind warrior. Irendri wants to kill Moksha and Yodha is entrusted with the job of gaurding Moksha. The rest of the story is all about how Moksha gets rid of Irendri with the help of Yodha. There is also a love story for Yodha.

Artists Performance

anaganaga o dheerudu It is virtually impossible for any young hero in Telugu cinema to accept a blind man’s role. Siddharth is very brave to brace this character that flows with the narration of the movie. Siddharth is fabulous. Shruti Hassan is glamorous with her exotic looks. However, it is Lakshmi Manchu who steals the show. Her make-up, dialogue delivery and screen presence is terrific. Baby Harshita is impressive with her work. Ravi Babu is nice as the lieutenant of witch with the funny oneliner ‘nimma daanimma’. Brahmanandam and Ali have a few funny scenes.

Technical departments

anaganaga o dheeruduStory - screenplay - direction: Story of the film is like Chandamama katha (fairy tale). The director didn’t succumb to the commercial trap and narrated it in a way it should be. Prakash Kovelamudi is excellent with visuals and presentation. He is highly imaginative. He introduced all the characters excellently. However, the movie has only one orientation throughout the movie - witch seeking the kid. A couple of secrets revealed in the second half are interesting. But, he couldn’t get the emotions strong enough on the screen to rise the tempo.

anaganaga o dheeruduOther departments: Songs are composed by 4 different music directors and all the songs are good. Background music composed by Salim Sulaiman is excellent. Visuals in this movie are of extraordinary quality. It is the result of collective team work by the cinematographer (Sounder Rajan) and visual effects team (Firefly). There are many visual effects that doesn’t appear like effects to naked eyes. There are graphics worth 72 minutes in this movie (half of the total runtime). Art direction by Bhupesh Bhupathi is superb. The costumes, make-up and get-ups are of top-notch. Dialogues by T Rajasimha are pretty good and they might sound odd for the regular moviegoers because the dialogues were written in pristine Telugu though he used contemporary cheap words like jaffa. Production values of the movie are humongous. Disney has made sure that their first Indian production is at par with their Hollywood projects in terms of technical and production values.

anaganaga o dheeruduAnalysis: When was the last time we have the hero playing the role of a blind man? When was the last time a Telugu movie had a young woman as a villain? Anaganaga O Dheerudu is a brave attempt that defies many stereotypes and cliches of Telugu cinema. But at the same time, it is extremely important for any director to get the emotions flared up at the crux moments. Prakash Kovelamudi who stuck with the script made sure that the story is narrated like a fairy tale, but he couldn't get the right emotions/tempo (suspense or utkantha) towards the climax of the movie. The plus points of the movie are extraordinary visuals, lead performances (especially Lakshmi Manchu) and classic style of story-telling. The negative point of the movie is the lack of emotional depth/connect. On a whole, Anaganaga O Dheerudu is a universal movie that aims at kids in the family and the kid inside you.

Cast: Siddharth, Shruti Hassan, Lakshmi Manchu, Baby Harshita, Ravi Babu, Brahmanandam, Tanikella Bharani, Ali, Subbaraya Sharma etc.

Music (songs): M M Keeravani, Koti, Mickey J Meyer, Salim-Sulaiman
Background Music: Salim-Sulaiman
Dialogues: T Sasi Rajasimha
Cinematography: S Soundar Rajan
Editor: Shravan Katikaneni
Stunts and action: Dee Dee Ku, William Ong, Selva & Vijay
Art: Bhupesh R. Bhupathi
Visual Effects: Firefly
Production design: Raj Golay
Presented by: Walt Disney Pictures and K Raghavendra Rao
Story - screenplay - direction: Prakash Kovelamudi
Producer: Prasad Devineni and Prakash Kovelamudi
Release date: 14 January 2011

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Tamil Movie Aadukalam Review : Dhanush Rocks

Dhanush and Vetrimaran once again hits the bulls’ eye! Their second film together Aadukalam is gutsy and a brilliant film. Dhanush is simply outstanding, his career best performance. It is also Sun Pictures best ever production, a film that they can be proud of.

What makes it tick are it is a story of ordinary people, told in a realistic way with human emotions about friendship, betrayal, jealousy, petty ego that leads to havoc in the life of a youth. The milieu and presentation are truly international.

The film is set in a suburb of Madurai where rooster or Cock fights is a major sport. Karuppu (Dhanush) is an understudy of Pettaikaran (Jayabalan) considered as the best in business. Karuppu thinks the world of his mentor, who prefers his other assistant Dorai (Kishore) more. Karuppu is an innocent good fella who falls for an Anglo Indian girl Irene (Taapasee) living in the nearby railway colony.

Pettaikaran most bitter foe is a policeman Retnasamy (Nareyn) whose family for years used to conduct and win trophies in cock fighting. Retnasamy decides to have one last cock fight between his team and that of Pettaikaran and emerge triumphant for the sake of his dying mother. The fight is conducted after a special permission is given by police and local bodies. In the crucial fight Retnasamy using drug induced rooster’s in the first round, trounces Pettaikaran. At this point to save the face of his guru Karuppu enters the fray with his rooster.

Pettaikaran is upset and announces through the mike that Karuppu is not a member of his team, but the underdog goes on to create the biggest upset. Karuppu’s victory makes his mentor bitter and jealous as he is crowned the new king of cockfights. This creates hidden animosity in Pettaikaran who plots for the downfall of Karuppu leading to a riveting climax.

Ultimately however, Aadukalam belongs to one man and one man alone. Investing in his character a lot of realism and protecting it from ever turning into a caricature, Dhanush delivers a performance that is arresting. The character conveys volumes through his eyes and Dhanush lives in the role of Karuppu. Jayabalan is a revelation as Pettaikaran and Kishore is outstanding as Dorai. Debutant Taapsee is a promosing find and she suits the character of an Anglo Indian girl to the T.

Technically, the film has many brownie points-The film's dialogues are sharp and mesh in well with the scenes. Velraj’s cinematography is one of Aadukalam’s greatest strengths; and even actors in bit roles leave a lasting impression.

A major plus is GV Prakash Kumar’s background score and the Yathe Yathe... song lingers in your mind even after you leave the theatre. The rooster fight in the interval point is the major highlight.

Minuses? It is too classy and difficult to comprehend for an ordinary viewer. The first half is very racy and entertaining while the second half towards the climax drags and some characters like Retnasamy disappear in the second half.

Every once in a while comes a film touch both heart and mind; films that make you surrender completely to the power of the experience. Aadukalam lives up to the expectation that the film carried and the credit goes to Vetrimaran whose research and hard work shows on screen. We recommend Aadukalam.

Verdict: Brilliant - Rating : 4/5

COURTESY : MOVIEBUZZ@SIFY.COM

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Tamil Movie Review Siruthai : Masala Remake

Karthi is the latest to jump the bandwagon of Telugu remakes. Dhanush has done it with fair success and Jeyam Ravi thrives on it. But could Karthi pull it off with Siruthai, which is the remake of the four-year old Telugu hit Vikramarkudu?...Rocket Raja (Karthi) is a pickpocket whose ally is Kaatupoochi (Santhanam). Together they perform con tricks on seemingly innocent people and when they stumble upon Swetha (Tamannah), it’s immediately love at first sight for Karthi. Despite his dubious credentials, he perjures himself as being a software engineer to win the rich Tamannah’s love. His life is further complicated when one of his thieving expeditions make him bring home a child. The girl child identifies him as her father and there begins a string of events; Karthi is being mysteriously chased by blood thirsty, burly goons after the child’s arrival. Tamannah breaks up with him after the child’s entry thinking he lied to her about the child.

As one can see, the movie has enough potential to be presented as a no-holds-barred entertainer. Instead, the director borrows the Telugu version’s garishness and manages only to translate (sometimes even transliterate) the dialogues and comes up with a banal stereotype of a movie. To muffle the questions that would arise out of the language that is being used, the director inserts a disclaimer at the opening of the movie stating that it’s for the benefit of the viewers that every character speaks Tamil although most of the proceedings happen in Andhra Pradesh. But he conveniently forgets the other questions that would arise out of unreasonable sequences that fill the movie. Those might never be answered.

Karthi’s smile is his asset but in a movie that has little scope for such endearments, his qualities are of little help. There is one scene that pronounces his versatility. He gets annoyed and smashes the little girl’s walkman without knowing how precious that is for her. And he melts down immediately after revelation, embracing the child and cocooning her with his fatherly love. The last scenes, in which the character Rocket Raja dons the cop uniform, are also a riot. The actor pulling off two diverse roles with consummate ease is the saving grace of the movie.

Since the originality of the Telugu version is retained, when released in Andhra this movie might serve as Karthi’s launch pad in Tollywood.

In the little time he’s allowed to be on screen, Santhanam manages to break the movie hall into laughter with his wisecracks. Karthi and Santhanam complement each other as well. Tamannah is just another pretty face in the movie and has absolutely nothing to do other than look pretty and dance gracefully. She also seems to be willing enough to flaunt her navel area, much to the delight of Karthi and her fans. Which brings us to the songs; all of them seem to follow the same beat and are equally humdrum.

The movie is also riddled with crude dialogues; it would still have been tolerable if they were used only for comedy, but in the name of villainy the movie throws in some cringe-worthy dialogues and scenes that are sure to make the women in your family squirm in their seats.

Ganesh’s stunts are old-schoolish. Sample this: Karthi leaps out of a 10 storeyed under-construction building and lands in his two (feet). And we said it’s only a sample. Despite this, Velraj’s cinematography manages to tone down the movie’s violence with its subtlety (a quality that is otherwise non-existent in the movie).

Watch Siruthai if you are a hardcore mass masala fan. Chances are that you might like Karthi, who is trying his best to prevent the movie from its impending dive into the depths of hackneyed void.

Verdict: Another mass masala remake! - Rating : 2/5

COURTESY : BEHINDWOODS

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Telugu Movie Review Mirapakaya : 100% Masala

Ravi Teja is back to big-screens with Mirapakaya today. The crazy star is best in portraying the typical mass characters and Mirapakaya too, showcases Ravi Teja in a mass role. The crazy Star was seen romancing two glamour dolls Richa Gangopadhyay and Deeksha Seth in the movie. Here is the Mirapakaya review.

Rishi(RaviTeja) an intelligence bureau inspector ordered by his senior official(Naga Babu) goes to Hyderabad from delhi as part of an intelligence mission, and establish himself as a lecture in a college headed by Shankar Anna(Kota Srinivasa Rao) an associate who work for Kittu Bhai(Prakash Raj) a mafia don and a most wanted by Intelligence bureau. You got to watch on the silver screen, how Rishi works to catch hold Kittu Bhai and how he finds his love interest in the process.

Ravi Teja’s strength is his impulsiveness in action (behavioral action without any drama) and exceptional dialogue delivery with a tinge of accent, Ravi Teja displays an unparalleled command over each and every aspect of his authoritative presence on the screen. Be it Comedy or dances or fights, he excels exuberantly and how! His body language is marvelous and suits the character.

Richa: She is cute and suited the role; she is pretty hot in Gadithalupulu song, she is a treat to watch. The characterization of the heroine should have been bubblier. But the director had chosen her character to be a traditional girl with subdued emotions.

Deeksha is charismatic in looks department and is adequate in histrionics aspect. Her role is limited in this film.
Other Actors:

Brahmaji’s character as a senior to RaviTeja is entertaining. Prakash Raj doesn’t have much footage, Kota Srinivasa Rao is remarkable as the Shankar Anna, but we can not find anything new in Prakash Raj and Kota characterization as we saw him in similar roles may times earlier. Naga Babu, Chandra Mohan, Sunil, Supreet, Ajay are satisfactory.

Story-Dialogues-Direction:Preferring a director whose only film ‘Shock’ is a debacle seems to be rather a risky decision. But, the director Harish Shankar does a decent job in this film. By keeping the image and body language of Ravi Teja in mind, he narrated the entire film in lighter vein mode, He has good flair for conceiving comedy scenes. The story is a routine and predictable one. Screenplay is shabby in the second half.

Music: Background music by Thaman is Ok. Songs are also good. Two songs Gadithalupula and Dhinakku Dhin songs are good on screen.
Other Departments: Cinematography C Ram Prasad is impressive. Artwork by Brahma Kadali is good. Editing by Goutham Raju is adequate. Stunts by Ram-Laxman are good in patches. Production values of Yellow Flowers are of good standards.

Analysis:Ravi Teja is the only aspect to watch Mirapakaay, It doesn’t offer anything new, a simple Police catching thief, How? Is the story. Mirapakaay have lots of action mixed comedy as we find in all recent movies of Ravi Teja. Watch it for Ravi Teja.

Highlights:

Ravi Teja’s performance and energy levels
Cinematography
Production values
Screenplay
Music and Background
The scene where an analogy of Puri Jagannadh, V V Vinayak, Rajamouli films come and Kota says “meeru dhandha vadilesi cinemalu baaga mariginru..”
Songs and music

Drawbacks:

Climax could have been better
Few scenes lack depth

Overall, the director Harish Shankar has improved from his earlier venture and he has balanced the entertainment and commercial values decently. He is showing potential as a commercial director for Tollywood in the future.

As far as this film is concerned Harish Shankar seems to have taken some inspiration from the narrative style and treatment of Puri Jagannath. Hence a bit of ‘Pokiri’ flavor is seen in this film.

The pace at which the film runs doesn’t leave many idle moments and it is more like a touch and go situation without any hiccups. The technical values, the music and the entertainment quotient were in the right proportion. If the story can be given that extra dose of punch and twists, then it will be a right recipe for the box office. However, this has a strong chance to be a commercial success.

First half runs with many hilarious moments packed with some action while the second half goes on action and love sentiment with a few lighter moments. But the closing of the movie is very abrupt and quick.

Bottom-line : Formula entertainer, can be watched once

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Movie Review Paramaveerachakra : Unbearable

Jay Simha is an Indian Army Major and is very stringent on anyone who commits crime. One of his colleagues Kumar (Vijay Kumar) joins hands with Terrorist outfits, form a cunning plot and kills Balakrishna and his family, thereby making him a Desa Drohi.
Cut to the present, Chakradhar (Balakrishna) is a celluloid hero and does all message oriented roles. In a strange coincidence, Army staff discovers that this matinee idol Chakradhar and Jay Simha look similar and ask Chakradhar to replace Major position. The plot unveils as to how Chakradhar accomplishes his mission and bring the criminals to the fore.


Analysis:

Yuvaratna Natasimha Balakrishna for the first time teamed up with Darsakarathna Dasari Narayana Rao for Parama Veera Chakra and we might have to say that the movie is rather a conservative one. It is a characteristic laid-back attempt by Dasari Narayana Rao to uphold both mythological and contemporary convictions. However, the apprehensions come true as Parama Veera Chakra movie turns out to be an ordinary movie.
Although, Balakrishna was portrayed well in the Major role, the debacle comes in the form of amateurish screenplay and ludicrous direction. Dasari Narayana Rao could not draw all his experience to strike gold even by roping in a stardom hero like Balakrishna. Poor sketching characters, pitiable script coupled with unnecessary songs make Parama Veera Chakra a run of the mill story.

Few scenes were very good and Balakrishna was adequate as major. In action sequences, Balakrishna looks really elegant and the shots in Himalayas were also pretty good. Balakrishna strove to resemble late NTR in the role of Raavana, but surely he might have realized that doing so is no cake walk. Albeit, he did a great job. The first half of the movie goes very usual, but in the second half, the movie losses its grip and finally ends in no man's land.

Balakrishna looks elegant as Army Major. His dialogues, modulation and body language are great. His temperament as celluloid hero is realistic.

Neha Dhupia is seen in negative shades with couple of action sequences, but I cannot understand why she's been roped in.

Amisha Patel is adequate as Major's wife, but she's already outdated and does not bring any value to the table. Sheela openly lends glamour to the movie in the first half. Brahmanandam - Ali - Hema comic scenes are dismal.

This movie can be watched once for the performance of Balakrishna. - RATING : 2/5

CREDITS : DOWNLOADSGURU

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