Movie Review Teri Meri Kahaani Hindi

It wouldn't be wrong to declare that romantic stories are a thing of the past. Either the audience has grown over it or they just don't make good romantic stories anymore. How else can u describe Teri Meri Kahaani?

Teri Meri Kahaani, a thrice over love story as the tag suggests, spreads across three decades, 1910 in Sargoda Lahore, 1960 in Bombay and 2012 in England. So needless to say you have three Shahid Kapoors and three Priyanka Chopras decking up in three types of get ups, having three different types of chanced meetings, falling in love in three different ways, finding three different types of complications in their love affairs and reuniting in three different ways. Hence, you know when filmmakers say their film is 'different' you know they are right!

Director Kunal Kohli easily can dismiss any similarity but you can't help but recall the idea stemming out of Taiwanese film Three Times. Or how else can you justify Three Times too having three love stories spread across in the years of 1911, 1966 and present?

Anyway, keeping aside the mentions of similarities and differences, TMK doesn't quite work on the emotional level too. For a love story its utmost important to have a soul and it is that which goes missing in the film.

The setting in all three eras appear fake and caricaturish. They go horrendously wrong especially in the times of 1960 which has a very French renaissance film feel to it with a Charlie Chaplin film approach merged with the silent acts as seen in the film Artist. The narration of the story of 1960s also uses slides with texts as cheesy as some of the cheesy elements of the film. Sample this - Slide 1 - Hum Tumse Mile, Slide 2 - Hum Tumse Bhi Phir Mile, Slide 3 - Hum Tumse Phir Mile so on and so forth. Moreover, the entire backdrop in the era is a work of Chroma right from the station to the buildings, the cars, the roads etc, easily giving you a fake feel. The set establishing to bring out the 1910 era is also very unreal and gives you a studio feel. To bring out the youthfulness in the story based in England of the present age, you have excessive usage of twitter and facebook, expensive gadgets, cool clothing etc.

Shahid Kapoor and Priyanka Chopra on the other hand desperately try to salvage the pointless storyline by giving their earnest attempts at acting. Shahid Kapoor convincingly pulls off his parts very well and acts well too. But all efforts go in vain courtesy the flawed, insipid story.

To sum it up, Teri Meri Kahaani can well be called a Mausam sequel as film has the chances of turning into a debacle as deafening as the previous film itself.

Nothing Great About This Kahaani - i will go with a generous 1.5/5

Ajith Billa 2 Official Songs Promo Theatrical Trailer Tamil Movie 2012

Ajith Billa 2 Official Songs Promo Theatrical Trailer Tamil Movie 2012

Review Sakuni Tamil Saguni Telugu

Kamal Krishna (karthi) a small town guy who comes to Hyderabad to meet few politicians and the railway minister. He want to apply for a petition so that his ancestral home can be saved from demolition by the government. However, he goes through various experiences including an interaction with the CM Bhupathi (prakash raj) only to realize that none of them cares. He decides to get his work done by gaining power. For this, he targets the local don Ramanakka (radhika). What is his plan and whether he is successful or not forms the rest of the story.

The director has come up with an interesting storyline and while the presentation was good, the narrative was not that great. The dialogues were okay, the script was average and the screenplay was poor. Background score was bad and songs were not worth. Cinematography was impressive. Editing was upto the mark but was required during the second half. Costumes were nice while the art department was filled with nativity. Karthi has come up with a convincing performance and fits the bill. Praneetha looks highly seductive and provides the required visual feast. Prakash Raj was standard. Santhanam brought few smiles. Kota was usual, Roja was regular, Radhika was alright, Kiran Rathod was hot. Anushka brought some relief with her guest role. The others didn’t have scope.

The film is the dubbed version of the Tamil movie with the same title and it must be said that the storyline would have been quite relevant but the taking was the issue. The first half just goes with the regular elements of comedy, songs and romance without much momentum. The second half only picks up some storyline but there are few drag scenes. Overall, the film tends to go very lightly without really creating the right effect on the audience. At the box office, it would be difficult for the film to survive and score success.

Sakuni is a political drama with entertaining elements. The film opens on an entertaining note and doesn’t bother about the story until the interval point. Actual story starts in the second half and it is mostly about the political game that is played by the hero.

Weak villain and poorly conceived scenes didn’t help the film to involve the audience in the story. Villain simply says that it is not right time to teach the hero a lesson. He doesn’t bother to take him out despite him being a threat to his power. Director didn’t try to narrate the story in a multidimensional format. The narration was too one sided in the entire film.

Director didn’t use the heroine thread in the second half. Roja’s character was completely forgotten in the second half. Villain doesn’t try to stop the hero and shatter his plans. Despite being a CM of the state he starts fearing that he would beat him.

This one dimensional dealing of the story didn’t generate interest and the film hardly engages. There were few references to the current state of politics and the people who follow politics may connect to those scenes. On a whole, except for few comedy dialogues Sakuni was disappointing.

Karthi was good in his role. Proper care should have been taken care on his characterization. There were sudden jumps in his character shades and that were not at all convincing. Praneetha was limited to songs. Prakash Raj was Okay. Radhika was good and so were Kota and another senior actor Nasser. Santhanam provided few laughs. Anushka played a cameo which was fine.

Prakash Kumar’s music was disappointing. Songs were very bad and the background score was the biggest drawback. Cinematography was good. Editing was adequate. Production values were nice and rich.

Shankar Dayal lacks the skills of storytelling. He took an interesting plot but failed to execute it well. A gripping screenplay could have done world of difference to this film.

Sakuni may appeal to the entertainment seekers. There were few decently canned scenes and humorous dialogues. But this film demands an engaging narration and that was completely missing. You may watch it if you have nothing better to do.

Sakuni Movie Rating: 3/5

Banner: Green Studio Banner
Cast: Karthi , Pranitha
Music: G. V. Prakash Kumar
Producer: Bellamkonda Suresh
Directer: N. Shankar Dayal

Sakuni Review – Saguni Movie Review, Rating, Sakuni Telugu Film Review: Karthi’s latest Tamil film Saguni comes to Telugu as Sakuni. Praneetha, Prakash Raj, Radhika and others played important roles in this film. Here’s the review..

Movie Review Paper Dhoni Kannada

The attempt of this film is wide and large. The director of this film wants to give solution to every problem of this universe facing. The protagonist of this film is the author of the book ‘Paper Dhoni’. Chetan (Naveen Krishna) is a business tycoon cum software professional. His intention is to give laptop to every village at a cost of Rs.2500 so that he is addressed easily with the problems. The government pooh-poohs his idea whereas others take up this move at the international level. Chetan for setting up his unit uses the slum people and lend education. When he forges ahead with the idea of providing laptop every farmer in his own state the government gets a shock. The next target of Chetan and gang is to make this world of lies in to truthfulness. He takes on the issues at the international level and his growth of laptop at a cheaper rate has spread across the world.

It is the formation of SOS team that spreads all over the world. The problems of Ethiopia, Somalia, Nigeria he gets to know to give a solution. What next is the bloodiest issue of terrorism dogging all over the world. How he does it with SOS and how come to the normal situation is the final portion of the film ‘Paper Dhoni’.

This kind of film flooded with problem without any logistic solution by an individual is not possible at the world level. Taking inspiration from Microsoft growth, world leaders arriving at a dramatic solution to the issues is good to see in novels and books.

When the world problem is addressed it needs lot of challenge and in this convincing on the issues the film fails miserably. No one knows what’s happening with various issues clubbed. The topics just come and go without any logistic values.

Director R K Nayak intention is good. He wants to see the entire world as ‘Truthful’ and ‘Rama Rajya’ policy is agreeable. Instead of going at wider perspective he should have catered to the issues dogging our country.

However the thought of addressing the former via internet and solving the problems of the people via close circuit TV in every road is appreciable.

Taking four main issues – poverty, corruption, terrorism and illiteracy he should have worked out meaningful measures. There was no need to bring childhood, mother sentiment, love angle for this kind of film. Such issues spoil the mood of the film. Suggestively it could have been narrated.

This film coming after ‘Super’ has the shades but ‘Super’ catered to the sub continent. Perhaps after seeing ‘Super’ story this director has elaborated his thoughts. That is the mistake happened.

Of course Indian politics and Indian constitution has to be consulted while taking measures. In the surroundings of constitution and politics director should have given a thought provoking ideas for some of the issues from Kashmir to Kanyakumari.

Focusing on too many issues and the technical support not coming to help the film looks like a documentary of certain issues.

Less talked about this film is better!

Naveen Krishna is the saving grace of this film. His dialogue delivery is the asset of this film. There is no other character that supports the film. Actress Shanthala is only good in two songs of the film. The veteran actors like Avinash and Vinayaprakash have nothing absorbing to perform.

The film ‘Paper Dhoni’ suffers severely on the technical front. While addressing the world issues the backdrop required and high style and sizzle needed has not come to the help. The budget constraint is seen in every shot of the film.

On the dialogue front the film is OK. Jai Anand is a good cameraman but none of the shots are polished to look very bright to the eyes. Music director Sri Suman has given two tunes – Nade Nade…..Irabahudha Irabahudha….

Last but not the Least – Clean atrocity of City then go international!
HOPELESSLY MADE – Score 1.5/5
Cast – Naveen Krishna, Shanthala, Avinash, Sathyaprakash, Sathyajith, Adhi Lokesh and others.
Cinematography – Jai Anand
Music – Sri Suman
Producer – Janardhan
Direction – RK Nayak  

Review Abraham Lincoln Vampire Hunter

When one sees the title Abraham Lincoln: Vampire Hunter, Seth Grahame-Smith's adaptation of his book of the same name, one immediately knows a few artistic liberties have been taken with the story of the 16th President of the United States. But director Timur Bekmambetov's 3D vision of a Buffy-ized Abraham Lincoln could just do for history classes what Baz Luhrmann did for  Shakespeare when he tailored Romeo + Juliet to Gen X with modern music and a sexy, hip cast.

At least, that's the hope of some of the film's cast, including Anthony Mackie, who plays Lincoln's best friend and right hand man William H. Johnson. In fact for Mackie, who — among his impressive accomplishments — already has a pair of Best Picture winners (The Hurt Locker, Million Dollar Baby) and Ryan Gosling collaborations (Half Nelson, the upcoming Gangster Squad) under his belt, the addition of those oh-so-popular vampires to a huge chapter of American history was one of the things that drew him to the unconventional script.

"Hollywood has done the biopic," Mackie said during an interview with Hollywood.com, "And I love the idea of reinventing our great leaders, of recontextualizing educational figures. Because we are living in a three-dimensional society now, so we are no longer a chalkboard learning system....And I think that if you gotta infuse vampires to get people excited, f***ing infuse vampires!"

Of course, the real slight of hand with Abraham Lincoln: Vampire Hunter isn't just turning one of America's greatest and most important political leaders into a full-blown action star (here, Honest Abe's axe isn't just used for chopping down trees, but for some serious vampire ass-kicking), it's that it actually is largely a biopic, in spite of its outlandish premise and title.

Mackie can attest. "When I met with Timur,  I was like, 'So, is this a camp piece? Is this a Mel Brooks movie?' And he said 'No, we’re making a straight biopic. This is real. Those vampires were real. William H. Johnson was real. Slavery was real.' And I was like, 'Wow! That’s crazy! I’m in!'” But even with the added spectacle of vampire hunting, Mackie was given a tremendous undertaking with the role.

The 32-year old actor was given the important task of not only playing Will Johnson, but introducing his relatively unknown, but significant place in U.S. history to moviegoers. "That's [really] why I wanted to do the movie. It's exciting when you think about what he meant in the annals of history. He was the friend of the guy who wrote the Emancipation Proclamation, who lead us into the Civil War, and gave the Gettysburg Address. So, it’s partly because of him we are where we are."

While there isn't much documented about Johnson, what is known is not only fascinating, but an indication of who Lincoln was as a leader in Civil Rights, but as a man. Johnson, an African-American, worked for the Lincoln family around the early 1860s and even accompanied the President on his famous trip to Gettysburg. As the story goes, when Johnson died in January 1864 after contracting smallpox, Lincoln saw to it that his confidante was given a proper burial at his expense and his headstone read "William H. Johnson: Citizen." (A headstone with that very engraving located in Arlington cemetery is thought to be his.)

Mackie, who is no stranger to playing real-life figures (before any holograms came into the picture, the New Orleans native brought Tupac Shakur back to life in 2009's Notorious), told Hollywood.com he felt "a huge responsibility" to tell Johnson's story. Keeping in line with the rest of the film, Abraham Lincoln Vampire Hunter also takes some liberties with Johnson's story as well. (In the movie, Johnson, who does not appear in Grahame-Smith's book, is portrayed as a lifelong friend of Lincoln's, not to mention a fellow vampire slayer.) But it was what happened at the core of Johnson and Lincoln's working relationship, especially at that pivotal time in U.S. history that Mackie focused on.

"What I looked at more specifically was the relationship between African-Americans and white Americans at that time, because for Abraham Lincoln to stand up and say, 'This is my dude, he’s going to travel with me, he’s with me, that’s my man, let him in, put him in the front row,' is crazy," Mackie explained, "For him to do that was kind of magnificent, in a way. I think it took a certain aspect of humanity and dignity, and a common respect, and that was something I wanted to portray in the character more so than anything else."

It was a dynamic Mackie was glad to get to explore with his costar, Benjamin Walker, who plays the titular vampire hunting Abe Lincoln. Particularly the research-intensive aspect of playing two significant historical figures. "I was so glad Ben was on it, [he has] the ability to take a script, break a script down and talk about it from different perspectives and different character objectives, "Mackie said of his fellow Julliard grad, adding, "You know, you have to do a lot of homework when it comes to being an actor, especially on a project like this. You have to sit at home and read books and figure shit out. Because if you show up and you’re like 'Ehh?' you’re going to have egg on your face." No eggs here. Just buckets and buckets of spilled vampire blood.

Rating :  3 / 5

Movie Review Abraham Lincoln Vampire Hunter, Movie Review

Movie Review Gangs of Wasseypur Hindi

It's always easy to take a simple approach. Going by the same logic, one could always sum up Gangs Of Wasseypur as a revenge saga if the basic plot of the story was to be considered. But Anurag Kashyap makes this film anything but simple! But does it work for the audience? Let's find out.

Sardar Khan (Manoj Bajpayee), a local goon of Dhanbad has a two point agenda in life, kill all Qureshis of the badlands of Wasseypur, a region of Dhanbad district, which shifted from Bengal to Bihar and finally to Jharkhand post-independence and avenge the death of his father Shahid Khan (Jaideep Khan) by the hands of a coal mine owner turned politician Ramadhir Singh (Tigmanshu Dhulia). Aided by his two henchmen Nasir (Piyush Mishra) and Asgar Khan (Jameel Khan), and armed with locally made bombs and guns he terrorizes the bad lands.

Other than his insatiable urge to seek revenge, Sardar Khan has an insatiable urge of intimacy with women. Replete with lust, despite being married to Nagma (Richa Chaddha) and having had three sons with her, he goes onto falling for another woman, Durga (Reema Sen) and marries her too to have yet another son. Nagma's sons Danish and Faizal grow up to join their father's business. Nawazuddin Siddiqui who plays Faizal's role juxtaposes the men of Wasseypur by choosing weed over guns, watching movies in cinema halls over seeking his father's revenge.An intriguing character to take off the second part of this epic creation.

Anurag Kashyap's revenge saga is epic in proportions tracing three generations of animosity and he makes no bones about giving it a glorious 5hours for growing on the audience. For somebody to say, especially in Bollywood, that he is inspired by Quentin Tarantino and Martin Scorsese, it does reek of boastfulness but Anurag Kashyap unabashedly goes ahead impersonating the likes mentioned before or rather becoming the Indian versions of the two himself!

To say that Gangs Of Wasseypur would be an easy watch would simply be wrong as you cannot dare to even move your eyes from the screen even for a minute, especially during the first half where Anurag establishes setting as well as the character. The film starts off with a long sequence of bullet firing. The sequence is explanatory of the situation of the badlands. The narrative with the help of Piyush Mishra's rustic voice over then takes off into the flashback establishing the sordid gang wars between the Pathans and Qureshis both of whom that loot trains under the name of Sultana Daku. It then goes onto establishing the rise of coal mines during pre and post independence period making way for coal mafias.

Every ten minutes you have a new character thrown in or a new twist in the plot or even a shift to a new era keeping you glued to the screens. But the goriness or the stark grimness of the story doesn't make for a daunting watch as Anurag keeps slipping in high doses of humour. Most of the humours come with Manoj Bajpayee's character. The sequences of him wooing Reema Sen or locally getting his bombs and guns manufactured form the most hilarious parts in the film.

Anurag Kashyap not only flaunts his gargantuan storyline through this 2 hour 48mins first part but also intelligently boasts of his command over narrative technique too. He brilliantly brings together an amalgam intercutting, jump cuts and montages. However, it still wouldn't be wrong to say that had the first half been tad shorted, one would've enjoyed the film without any weariness sinking in.

Other key elements of the film are characterization and performances. While each and every character in the hoard put together by Kashyap and his gang of writers including Syed Zeishan Quadri, Akhilesh Jaiswal and Sachin Ladia is well defined, each and every performance also is top notch. It appears more like a competition with almost everyone trying to outshine each other in however big or small their characters are.

Manoj Bajpayee, though, tops the charts as the depraved, amoral, lecherous, merciless and fearless man. His portrayal of Sardar Khan may just be his best performance till date. To match up to him are plenty others in the cast including the likes of Richa Chaddha who brings a perfect blend of the strength and helplessness of a woman in the yesteryears. Reema Sen as perfect as the temptress while the henchmen played by Piyush Mishra and Jameel Khan are brilliant. Nawazuddin makes for a perfect start in the first part and one surely looks forward to his performance in the second.

The music composed by Sneha Khanwalkar is top notch. It's rustic, folk, and rural and suits the film to the T.

The movie ends like a tease making you want more which sadly, to be followed by the second part. And despite its long run time in the first part itself and the cinematic liberties that the filmmaker takes Gangs of Wasseypur part 2 will definitely be a film eagerly awaited! Devour part one in the meantime!

Rating : 4 / 5

Movie Review Brave 2012 English Film

Thanks to a filmography filled with modern classics like Toy Story, Finding Nemo, and Wall-E, Pixar Animation has a high bar set for themselves. Each new film is unfairly compared to the last — really, can every animated blockbuster be an existential silent film starring a robot? — with "good" Pixar movies feeling subpar. The feeling is unavoidable. The studio's latest, Brave, suffers from the comparison. With a messy plot and inconsistent tone, the movie sails under Pixar expectations and then some. The fairy tale feels directed by committee — something you might expect from the umpteenth entry of Shrek — instead of telling a singular story. Brave timidly enters the arena of female-centric fare and exits badly bruised.

ALTMerida (Kelly Macdonald) isn't like her fellow Disney princesses — she's tough, loves an adventure and could care less about who she's going to marry. But her passion for archery, rock climbing and all things Scottish warrior come into contention with her mother, The Queen (Emma Thompson), who hopes to pair her up with one of the Highlands' finest in order to mend a divide between the country's clans. Finding no help from her burly father Fergus (Billy Connolly), Merida decides to "change her fate" (a phrase you'll be endlessly repeating in your worst Scottish accent after the credits roll) on her own, first besting her suitors at target practice then abandoning the coupling ceremony all together.

Brave begins as a story of a strong-willed girl proving herself in a male-dominated society, rooted history and myth, relishing in the scenic landscapes of Scotland. It has the inklings of a grand adventure with Merida at the center. But thirty minutes in, the film takes a hard turn in another direction — suddenly, we discover what the movie is really about. Employing a local witch to solve her problems, Merida changes her fate (there it is again) quite literally, a transformation that forces mother and daughter to go on their own adventure away from the kingdom. The second half of Brave is like an entirely different film, a simpler, classic Disney tale that skews a bit younger, but is no less engrossing. The blending of the two is off-putting, and the film never recovers from the "twist."

Keeping Brave from ever solidifying itself as a streamlined story is the film's imbalance of comedy, drama and scares. Both in its features and short films, Pixar has displayed a knack for slapstick timing, but in Brave, it's goofy for goofy's sake, along with a slew of cheap, modernized gags that fall flat. There isn't much for adults to enjoy without a compelling narrative to make up for the silly jokes. On the other end of the spectrum are some intense scares that are energized and well-crafted, but could leave kids unsettled. Balancing it all with a seemingly heartfelt mother/daughter story leaves Brave as mushed up as haggis.

Merida is a great character, Macdonald's vocal talents livening her into one of Pixar's best to date. But Brave is a meandering vehicle that doesn't do service to the performances. Even the detailed visuals are restrictive to the story — aside from the opening minutes, there's rarely a moment that doesn't take place inside the small-scale of a castle dining hall or undefinable forest setting. With Brave, Pixar attempts to depart from the sensibilities of old school princess films, but the effort is vapid. The film wanted to change the animated female's fate, but it didn't take any risks to do so.

Movie Review Seeking a Friend for the End of the World (2012) English

Instead of following a ragtag team of brutes hired for a suicide mission to destroy an Earth-bound meteor, Seeking a Friend for the End of the World plays out the apocalyptic "what if?" scenario from the everyman vantage point. Written and directed by Lorene Scafaria (Nick and Norah's Infinite Playlist), the film pairs average joe Dodge (Steve Carell) with wallflower Penny (Keira Knightley) for a journey across the east coast, a hunt for Dodge's college sweetheart. Scafaria takes a character-first approach to her anti-blockbuster, examining the end of the world with a pitch black sense of humor. But the road trip loses steam as it chugs along, with the film's insistence to avoid Hollywood disaster tropes taking a toll on the entertainment value. Dodge and Penny are so normal, they aren't that interesting to watch. In turn, neither is Seeking a Friend.

Worse for Dodge than the whole "destruction of humanity" thing is the fact that he's facing it alone; his wife leaves him, he has no real family, and he hates nearly all of his friends. While everyone he knows is either hooking up or shooting up in hopes of going out on a high note, Dodge buckles under the weight of an existential crisis that feels all too familiar. To his rescue is next-door neighbor Penny, who insists the two hit the road together to go find Dodge's one-that-got-away. They don't have much of a choice, as New York City is quickly overrun by Malatov cocktail-hurling riots.

When the catastrophe and societal chaos is seen through Dodge's eyes, and Carell's complex interpretation of the straight man, Scafaria hits all the marks. Watching Dodge tell his cleaning lady to go home because "What's the point?" is heartbreaking, while his good friend's descent into frat boy madness for the same reasons nails mankind's vile tendencies. And through it all it's funny, thanks to Carell's impeccable timing. When Dodge is eventually paired up with Penny, the film meanders, the two never unearthing what it is about each other that keeps them sticking together.

The duo run into a kindly truck driver (who's hired an assassin to off him when he's unaware), a TGIFriday's-esque restaurant full of zany, drugged up waiters, and even one of Penny's ex-boyfriends, whose locked down with automatic rifles and Ruffles chips in anticipation of the end. But Dodge and Penny's quest is mostly about the in-between moments, the quitter, grounded human reactions to the apocalypse. Even with great performers at the helm, Seeking a Friend doesn't organically shape those moments so much as contrive them. In one scene, Penny fondly recalls the wonders of listening to music on vinyl, Dodge listening carefully and learning. It's a soft and low key discussion, perfect juxtaposition against the big-scale problem at hand, but when a twenty-something is explaining records to a guy nearing 50, it comes off as twee instead of truthful. The problem infiltrates most of Seeking a Friend's character moments.

Scafaria has an ear and eye for comedy, but Seeking a Friend boldly reaches for something more. Sadly, ambition doesn't translate to success, a messy tonal mix that fail to make it all that engaging or emotional. Carell and Knightley serve the material as best they can, but this is the end of the world, an even that requires a little weight, a little sensationalism and a little more than a casual road movie.


Release Date: 06/22/2012
Rating: 3/5
Director: Lorene Scafaria
Cast: Steve Carell, Keira Knightley, Connie Britton, Adam Brody

Movie Review Murattukaalai Tamil 2012

Original is always original and then comes next. Doing remakes seems to be the latest fad. Joining the list of remake is Murattu Kaalai (1980). The original featured Rajinikanth as an angry young man. Produced by AVM and directed by S P Muthuraman, it brought name and fame to Raijni.

After three decades now comes its remake with Sunder C playing the lead. Sneha, Suman, Sindhu Thulani and Vivek in key role. Music is by Srikanth Deva. Directed by K Selvabharathy, the movie is racy.

Kalaiyan (Sundar C) is a brave young man. He lives a happy life with his brothers. Sister of local zameemndar Varadarajan (Suman) falls for Kalaiyan. Coming to know that Kalaiyan's land has gold mines, he decides to get his sister married to him and get his wealth.

Meanwhile Varadarajan comes across Poovarasi (Sneha) and falls for her. He decides to get her married and forces her by playing spoilsport in her family. She escapes his custody and takes refuge in Kalaiyan's house. Coming to know of Varadarajan's true colours, Kalaiyan cancels the engagement with his sister. Now begins the drama between the two. Varadarajan bays for his blood. He is adviced and assisted in his battle against Kalaiyan by Saroja (Vivek). What happens then is a tale of bloody battle and finally justice prevails.

Sundar C has played his part well. He has stuck to his own style and that is refreshing. Sneha dons the role played by Rathi in the original. Suman plays the wicked baddie, while Vivek tries his best to evoke humour. Sadly his dialogue is crude and full of double meaning. Sindhu Tholani is glamorous. She appears for a song. Thiyagu, Lollu Sabha Jeeva are also in the cast.

As far as the story goes, there is nothing novel as it is about an innocent villager taking on a wicked rich man. No surprises there. Kalaiyan (Sundar C) and his battle with zameendar Varadarajan (Suman) is what the movie is all about.

frankly the original was far ahead. The remake is no patch to it. The gloss, shine is there. But sadly the emotions go missing. Music is by Srikanth Deva. He has remixed the popular Podhuvaga En Manasu song here. Santanio Terzio's cinematography gives the film a new colour. Murattu Kaalai is a movie which may not be a match to the original. 

Rating : 3  / 5

Movie Review Murattukaalai Tamil 2012, tamil movie 2012 muratukalai review, Sundar C Muratukaalai review, Tamil Movie Review

Movie Review That's My Boy English

The magical R-rating is both a gift and a curse to Adam Sandler's signature brand of lowbrow humor. In That's My Boy, the comedian returns to the dim-witted roots that made him a star in early outings like Billy Madison and Happy Gilmore (complete with high-pitched, mushmouth accent), but with a ramped up "ew" factor. Unrestrained, Sandler piles on as many expletives and gross-out scenarios as a two-hour movie can hold — and it works out quite well. With costar Samberg nailing the disgusted straight man role, Sandler's penchant for acting like a fool is enhanced by the sick stylings of director Sean Anders (Sex Drive) and only occasionally teetering into truly offensive territory. Laughs aren't guaranteed, but the movie provokes (which is a big step up from Jack and Jill).

Back in the '80s, Donny had a secret relationship with his teacher Ms. McGarricle that resulted in a son, Han Solo (he's a middle schooler, what do you expect?). The torrid affair put McGarricle in jail, Donny into celebrity tabloid spotlight and Han Solo in the hands of a tween father. Thirty years later, everyone's screwed up: Donny (Adam Sandler) is a drunk on the brink of jail time for tax evasion, McGarricle's still in jail, and Han Solo (Andy Samberg), now "Todd," is a successful number-cruncher with severe social issues. On the weekend of Todd's wedding, Donny reenters his life, hoping to bring revive their relationship and reunite him with his mother — that is, on camera, so Donny can make $50,000 from a gossip TV show and stay out of the slammer. Posing as Todd's long-lost best friend, Donny stirs up trouble, becoming buddies with Todd's friends and family and acting like a imbecile.

The wedding setup is overdone, but always prime for comedy: plenty for a numbskull to screw up, logical progression (there's a wedding at the end!) and a bachelor party scene to squeeze in the most disgusting bits and have them make sense. That's My Boy makes the most of its conventions — including what we all know and expect from a Sandler comedy — by continually one-upping itself. After a night of heavy drinking at the local strip club/omelette bar that results in do-it-yourself ear piercing and robbing a convenience store with Vanilla Ice, Todd returns home to expel the night's worth of drinking all over his fiancee's wedding dress. Then he makes love to the dress. Then his fiancee (Leighton Meester) wakes up to find the dress. Then it goes even further than one would care to imagine. Grossed out yet? Amazingly, lower-than-low brow material is handled with clever timing and great delivery. It's just that the foundation is bodily fluids.

That's My Boy falters when it throws in gags that serve zero purpose to the story. Strange racist humor, a mentally retarded bar patron played by Nick Swardson (a Sandler mainstay), random allusions to Todd Bridges' drug habits — barrel-scraping one-offs that have nothing to do with the movie. At two hours, the movie needs slimming and the fat is apparent. Thankfully, the main ensemble goes to great lengths to make the hard R comedy click, with Sandler and Samberg playing well off each other (although Samberg doesn't have the making of a leading man after this movie), and SNL alums like Will Forte, Rachel Dratch, and Ana Gasteyer driving by to bring the funny. Even Vanilla Ice's extended cameo fits the anything-goes tone, playing a version of himself that befriended Donny in his celebrity days. Now he works at an ice skating rink.

After a few lame ducks, That's My Boy is a return to form for Sandler. It wavers in quality, but it has energy and color. A cash-in this is not, and for any\ Sandler fan with a stomach for hardcore bathroom humor, it's a must-see.

Movie Review Marupadiyum Oru Kadhal

No matter how beaten to pulp and stale love as a subject becomes, it never fails to spawn ideas and imagination of our filmmakers. Marupadiyum Oru Kadhal is one such movie that is a mishmash of love from today and back from the eighties – or whenever love entered into the world of Tamil films as a predominant subject.

Director Vasu Baskar weaves a tale of love and longing in the world of internet and Face Book with outdated elements like love without the couple seeing each other and suchlike. As if it’s not enough that the movie is riddled with ludicrous logical loopholes, it’s also mired with concepts that even the television serials are afraid to carry these days.

A couple – two medical college students – are head over heels in love but they haven’t seen each other. If this reminds you of Kadhal Kottai days, what follows is something reminiscent of days even before Kadhal Kottai. You see the heroine singing to the hero, who is in his deathbed, to make him realize that she is the love of his life and you see lovers exchanging photos but the coy girl sending the boy a picture blackening the part of the eye so he cannot recognize her.

The movie opens with an accident. An inebriated man is hit by a lorry and as before he slips into unconsciousness, his entire life flashes before his eyes. The director wants you to believe that the poor guy became an alcoholic because of a girl’s love - who even refuses to meet him eye to eye. In these days of speed dating and relationships influenced by social networking, you have a hard time believing that such drama will be saleable.

The film’s leads Annirudh and Jyothsna fill the screen with their dead beat presence. You tend to think that they are probably tired of the movie, as much as you are as an audience. But that’s probably the screenplay’s strength or the lack of it. They do look like they have the potential to shine in a better story.

Srikanth Deva’s music and the movie’s cinematography are a few endurable aspects. If you consider the things the director should have done away with, the laundry list seems endless - starting from the stale theme of blind love without seeing each other.

That said, but for the very sloppy story and the screenplay, the movie is shot well. The scenes in London are nicely captured and the songs – yes what if the film’s lead haven’t seen eye to eye they can still do dream song sequences – are well shot in good locales. And that remains the only takeaway of the movie that is largely a sappy fare of unrequited love of a man and an unreasonably prude girl.

Verdict: Kadhal – back to the past! - Rating : 2 / 5

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Movie Review Bachelor Party Malayalam

Amal Neerad's 'Bachelor Party' talks of five friends Ayyappan (Kalabhavan Mani), Benny (Rahman), Geevar (Indrajith), Tony (Asif Ali) and Fakir (Vinayakan) taking on the don Kammath (John Vijay), who in Tony's own words has 'kept the underworld stacked in his underwear'. Well, in case you are wondering why I have stopped right there, it's because you have just reached the end of the story. Yeah, that's all to it.

'Bachelor Party' has one of the shakiest scripts that I have seen in recent times, and by shaky, I mean the kind that is decrepit and literally falling to pieces. It features a story that could perhaps be fine material for a ten minutes (or less) short film, but with the characters moving around in real slow motion, I guess it's understandable that the film gets stretched to an odd couple of hours.

The kind of time that it takes to get things moving around here is unbelievable. You have these four guys coming to meet Tony, who has gone shopping, as bad luck (for us) would have it. They wait for him to return, and it's quite a long wait indeed. They might at least have a purpose being there, but why make us wait for this man from dawn to dusk?


The dialogues are raunchy no doubt, and you do get to hear all those bawdy Malayalam words splattered across the screen in abundance. What is funny though is that beyond a minimal shock value that they perhaps offer, they hold little significance in the film as such. Take for instance the story that Geevar tells Benny, while on their journey to meet Tony.

On a representational level, the film makes use of awkward symbolism. Perhaps no other actor in the Malayalam film industry has been able to do what Indrajith does to Vidya Balan in 'Bachelor Party'. And neither has anyone in Malayalam films counted currency notes as Vinayakan does. These are a few firsts no doubt, but they are there, just because they want you to be shell shocked. Nothing less, nothing more.

There is one scene that I really loved in the film. Just as I was wondering where Remya Nambeeshan had disappeared after the belly dance that brought the house down, along she comes in the climax, throwing open the doors of the brothel and walking away to freedom. Now that I think of it, it's the sense of liberation within you that makes you love the scene; you realize that it's all over and its time to go back home. And you love Remya Nambeeshan for leading the way.

It takes about ten to fifteen minutes of constant firing to get them all down though. Perhaps some people do find the sight of blood splattering around in slow motion quite appealing. But when it goes on for this long, you start wondering what is wrong. And you end up hating it all; guns, bullets and blood, films, life and what not.

Someone told me there would be buxom belle Padmapriya around in a sizzling item number, and she does drop by as promised, as the credits roll. Thankfully all the rolling is done right at the bottom, so that you don't really miss out on anything when it comes to the actress dishing out 'Chakkavaratti' and 'Kappapuzhukku'. Sadly, I just didn't have the mind to stay on. Maybe on TV, sometime soon.

There is nothing wrong with the acting as such; in fact all of them are brilliant. My pick of the lot would be Rahman, sporting salt 'n pepper looks and carefully underplaying his role, without ever appearing intrusive or dominant, and yet being very much there. The rest of them are quite good as well. But I need to ask this. What on earth was Prithvi doing there in this mess?!

There is just one purpose that this party has served. It makes me want to really swear. Oh yeah, f**k!

rating ; 2/5

Movie Review Qasam Se Qasam Se Hindi

Blame it on the cliches that work sometimes in Hindi cinema, every newcomer usually takes his first shot in films with a romantic fluffy offering to make for a safe entry. But as I mentioned, cliches work only sometimes while the rest of the cases, end up biting the dust. Qasam Se Qasam Se takes the similar route. Whether it works or not let's find out.

Exploring the teenage romance, Qasam Se Qasam Se is about the love story between Rohan (Azim Rizvi) and Faith (Faith Mehra). Set in a college, Rohan's friend Vijay (Faraaz) ends up falling in love with the same girl as Rohan and all hell breaks loose. Rohan fights all odds possible to win his ladylove. He gets jailed, beaten up, humiliated, even labeled a terrorist but nothing comes in between the hero and the heroine. Vijay's father DCP Mahadik (Ashwini Kaushal) pulls all strings to nab Rohan. How the lovers come together after all odds is what follows through the rest of the plot.

Talk of being a jaded, hackneyed storyline and QSQS tops the charts. The bunch of newcomers including filmmaker Ashfaq Makrani, writers Nazim Rizvi, Ravi and Dr Mozzam Azam and the debuting actors Azim Rizvi and Faith all take a safe route by attempting something that's been done to death in an equally done to death fashion.

So you have a 20-something chocolate boy types actor careening into the college on a bike and falling in love with his future girlfriend at first sight! The girl falls back in love with him by observing his noble characteristic traits. The two break into a dance sequence at every possible picturesque location leading you into a deep lull.

QSQS falls flat purely for not just being caricaturish and tripe but also for being dreadfully long. There's far too much stuffed in one film to make for a masala potboiler so you not only have romance, there's dallops of action, drama, melodrama et al.

Moreover, to add to the viewers fury are the characters! If the lead pair's agonizing sugary love isn't enough, you have a talented actor like Satish Kaushik getting wasted portraying the character of a canteen owner that again has been lifted off from countless prior films. Worse still, you have a voluptuous, hot teacher in the name of Rakhi Sawant and Peepli Live actor Omkar Das Manikpuri who believe it or not plays a college student, a complete wannabe in the garb of garish hip hop caps, baggy trousers throughout the film.

To sum it up, there's barely anything that can entice a viewer to watch this torturous affair. Best ignored.

Rating : 1 / 5

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Movie Review Addhuri Kannada 2012

It is a love story of Poorna and Arjun. They are affectionately known as ‘Achhu and Rachchu’. Poorna and Arjun (Radhika Pandit and Dhruva Sarja) are in love for one year. Before Poorna father takes a decision she decide to marry Arjun at the registrar office. Arjun agrees but he does not turn up for the prescribed time. The whole day Poorna waits for him on the steps of registrar office. Arjun turns up at the hostel of Poorna in the midnight. Poorna decide to go back to her house in New Delhi.

The next day morning Poorna is at the railway station for ticket and the ticket is only for the next week. That is what Arjun cooks up at the railway ticket counter. She is supposed to stay for one week. For this one week Arjun throws a challenge for Poorna to stay with him. Arjun wish to go to the places where they have gone in the last one year for that Poorna hesitantly agree. On the fourth day Poorna gives a shock that she is getting married to Tarun a software engineer.

On the fifth and sixth day Arjun and Poorna maintains the go happy friendship. Lovers later become friends in life is for the first time says Arjun in one of the scenes. On the 7th day Poorna comes to know why Arjun did not turn up for the marriage registration. She is shocked and feels she has injured Arjun so much in words. Whether Arjun would accept me once again is the question that arises in her mind.

ANALYSIS –

Director AP Arjun after ‘Ambari’ has given a passable film with lot of liveliness in his screenplay. There is no good story for the film. Only one incident shoulders the 13 reels film. The narration pattern is quite engaging from Arjun. He has improved considerably in this film compared to ‘Ambari’. He had shown the lovers going to Agra in a cycle in ‘Ambari’. Such flaws he has not made here in ‘Addhuri’. The character of Tarun Chandra that comes in the post interval does not take the exit.

Arjun is a winner in making every scene look grand. Like the title ‘Addhuri’ he has made most of the scenes look very pleasant to the eyes. The quarrel the director brings in between Dhruva Sarja and Radhika Pandit is also sweet. At one point of time when Tarun Chandra arrives on the scene the love expressed by Duruv Sarja to Radhika Pandit indirectly is quite impressive.

He has covered up the laxities in newcomer so well and made it sit through. The anger, love, naughtiness, dejection, responsibility, power required for the film has come out well from the actors.

It is just a narration based cinema with only hairline of incident that detaches the lovers. In the attached detachment the lovers move around on conditions. The height of love the risk that Arjun takes for his love is commendable.

‘Addhuri’ means grandeur. Director Arjun from the money of producer CMR Shanker Reddy and Keerthi Swamy has made it look glorious in the locations, costumes and lighting used for the film is on par with any other language film.

The speedy dialogues he has kept for the protagonist reminds ‘Golden star Ganesh’ of Mungaru Male. It is the peppy dialogues that are spoken on the street sides earn applaud for protagonist of the film. Dialogues are also another trump card of this film.

Another high point of this film ‘Addhuri’ is that director AP Arjun has not brought in parents for both the protagonists on screen. He has not defined the background of protagonist. Yet there is no place for much of emotions. The comedy also runs through the screenplay to some extent.

PERFORMANCES –

Full marks to Radhika Pandit actress in her 8th film. She looks very gorgeous in modern outfits. Radhika Pandit acting prowess would earn a few awards for her in the forthcoming days. Even when she is in sorrow mood she looks so sweet.

The new find Dhruva Sarja has come here to stay. The only minus point for him is his nose. He has nose for acting is the plus point. He looks macho. He is too good in action and dance. The dialogue delivery that has come to his first film ‘Addhuri’ is a god sent gift for him. Dhruva Sarja picks the right roles he would easily take over his elder brother Chiranjeevi Sarja. Dhruv Sarja close relative of Tamil action star Arjun lives up the expectations of his maternal uncle from this film.

Tarun Chandra in touch and go role looks handsome. His role has not been ended. Tabla Nani and Raju Thalikote are OK.

TECHNICALITIES –

Soorya Kiran in his first work behind the camera in Kannada is superb. She has taken the right locations. Even in the pedestrian area he makes it look grand and that is because the title ‘Addhuri’. In the outdoor shoots he has used his liberty in quick action moments of dance and action he earns good name.

V Harikrishna is giving bumper crop to producers since two years continues his strength in songs in ‘Addhuri’. Aa andre Ammate….is a raunchy number. The sorrow filled song before climax is melodious. Yarilla Yarilla Ninanthe Yarilla….Thun Antha Ugidaru….are for the masses! Yarilla Yarilla…song reminds the song of ‘Maria My Darling’ Kannada cinema.

On the editing front there is no flaw. The only flaw of this film is that there is no good story. It is a time pass cinema easily.

Last but not the Least – Even if you quarrel love is eternal.

GOOD IN NARRATION LIVELY PERFORMANCES! – Score 3.5/5

Cast – Dhruva Sarja, Radhika Pandit, Tabla Naani, Nagathihalli Chandrasekhar, Raju Thalikote, Tarun Chandra and others.
Cinematography – Sooryakiran
Music – V Harikrishna
Producer – CMR Shanker Reddy and Keerthi Swamy
Story, Screenplay, Dialogues, Direction – AP Arjun  

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Movie Review Kshay Hindi 2012

Kshay, not much may have been heard, written or said about the film. The film hasn't even done the rounds of too many film festivals neither has had great promotion. But one look at the promo and the dark, stark, black and white brooding of the film gives an impression of being an interesting and intellectual watch. Whether it lives by what it depicts in the promos let's find out.

Married to a struggling construction worker, Chhaya (Rasika Duggal) comes across an idol of Goddess Laxmi and demands her husband to buy it for her instantly. But with the idol being of a whopping 15 thousand rupees, the monetarily struggling husband Arvind (Alekh Sangal) refuses to comply with her demands. But Chhaya's desire to have the sculpture at home continues to grow till it reaches a point of obsession. How the obsession exasperates and consumes her from within follows through the rest of the story.

From the promo itself, Kshay comes across as a brooding, stark psychological thriller. However, what it ends up being is a film school project which can at most be termed as experimental cinema that doesn't quite leave an impact. The treatment of the subject is spot on, but where it lags is a good script.

For a film to hold the audience attention and by that I mean the aam junta as Kshay makes for a commercial release, it should have the commercial elements. But the filmmaker gets tad too experimental using excessive amounts of symbolism and metaphors making it appealing to only the film afficianados.

Filmmaker Karan Gaur's portrayal of obsession borders on horror genre giving a very forced appeal to the film. There's a lot of time wasted in close, unwanted shots as if not only is the character obsessed by the idol, the cinematographer too is obsessed by the actress. The film moves at snail's pace with scenes ranging from pointless to cryptic leaving the viewer exhausted and bored. Moreover, the end comes out far too predictive. An open end to a psychological thriller, perhaps, could've worked better.

On the acting front, both actors Rasika Duggal and Alekh Sangal go a fabulous job. While the changing expressions of Rasika from being comely and homely to turning frightfully obsessed is commendable, even Alekh's response to his onscreen wife's inexplicable growing madness is convincing.

To sum it up, Kshay would find it difficult to find takers in the commercial space. - rating : 2.5 / 5

Movie Review Ferrari Ki Sawaari Hindi

"It took me 72 drafts and four years to come down to the final script," that's what filmmaker Rajesh Mapuskar had said with reference to his debut venture Ferrari Ki Sawaari. Now when one says that your expectations from a film naturally increases and to add to it you have the Vidhu Vinod Chopra banner tagged to the film to increase your expectations further more. So let's find out whether the film is worth or not.

Rustom Behram Deboo (Sharman Joshi) is a righteous head clerk in RTO, a dutiful son and a doting father who can go to any lengths to fulfill his son Kayoze Rustam Deboo's (Ritvik Sahore) dream of becoming a cricketer. When Kayo gets selected for a cricket camp in London, the biggest problem that arises in front of Rustam is his monetary constraint. Yet another detractor to that is his perennially grumpy father Behram Deboo (Boman Irani) who doesn't appreciate his grandson's inclination on cricket. Thus begins Rustam's Ferrari ride as he goes against all odds to ensure his son's entry into the camp.

Rajesh Mapuskar has been closely associated with all the recent celebrated works of Vidhu Vinod Chopra so it doesn't come as a surprise when we see the same emotional connect and simplicity in his work too. Within seconds the film grows on you and the detailing about the normalcy in the life of Rustam is so infectious and relatable that in no time you get transported into the authentic Parsi lifestyle.

The first half presents an endearing blend of myriad emotions. It will make you teary and within no time break you into a mirthful laughter. However, just when you come back post the interval expecting the film to soar higher it crushes all your expectations by getting down to bare cliches. The entire media gig, the melodrama and the predictability of the second half leaves you disappointed. Blame it on the tripe second half; the film also appears tad stretched.

What works most for this endearing sugary offering is the characterization. Mapuskar pays keen attention on creating is character very real. Each and every character stands out in the film and aides it enriching the movie viewing experience.

Sharman's part is essayed to near perfection. His character very carefully treads on the border of being negative and being simpleton and comes out successful. Never for once he loses his grip on his character and has an endearing smile on his face forever. And while Sharman does his part laudably, Boman too matches shoulder and fits the bill to the T. It's really amazing to see Boman play each part over the years, which have all been different from the other, so perfectly! Newbie kiddo Ritvik deserves a glorious mention too as never for once does he comes across as novice.

The rest of the cast including the characters like Babbu jiji (Seema Bhargava), Shambhu (Deepak Shirke) and Sachin's servant (Nilesh Diwekar) do an outstanding job in provided the much needed laughter in the film. Vidya Balan's item number blends well with the plot and doesn't come across as a gimmick.

Over all, Ferrari Ki Sawaari is a great joy ride if you avoided the minor glitches. A definitely one time watch.

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Movie Review Rock of Ages English 2012

A jukebox musical is the epitome of reverse-engineered entertainment. Take a set of songs linked together by a common thread, arrange them for Broadway belters, and fill in the gaps with enough narrative to convince the audience they're not sitting through a large-scale, cover band concert. Silly, satisfying and familiar — the perfect combination for a crowd-pleaser. Rock of Ages, the big screen adaptation of the hit stage musical, manages to make the simplistic formula feel even lazier. ALTStarting off like a full-on '80s movie spoof, Rock of Ages quickly loses footing with a bombardment of overproduced tunes lip-synced by its celebrity cast. Simply put: it doesn't rock. At all.

The film opens with small town Kansas gal Sherrie Christian (Julianne Hough) hopping on a bus to make it big in Hollywood. There's a glimmer of hope as she duets Night Ranger's "Sister Christian" with a bus driver — maybe Rock of Ages really will be this fun and absurd. But when Sherrie arrives at The Bourbon Room, the city's premiere rock club and only second to Disneyland as the least threatening place in L.A., the movie spins out of control. Sherrie quickly strikes up a relationship with bartender/aspiring musician Drew (Diego Boneta), is hired by club owner Dennis Dupree (Alec Baldwin) and his second-in-command Lonny (Russell Brand), and becomes entangled in the joint's big attempt to stay afloat: the legendary Stacee Jaxx's (Tom Cruise) last concert before going solo.

Sticking with Sherrie as she explores the crazy hair metal scene is fun, but director Adam Shankman (Hairspray, Bedtime Stories) and his team of writers insist on piling more and more stuff on to Rock of Ages shoulders. There's politician wife Patricia Whitmore (Catherine Zeta-Jones) and her campaign against The Bourbon Room. There's Rolling Stone reporter Constance Sack (Malin Åkerman) who hopes to land one more interview with Jaxx. There's Jaxx's manager Paul Gill (Paul Giamatti), who responds to the fading rock scene with ambitions of starting a boy band with Drew. Anything that can open the door for more songs — pointless as the plot points may be — Shankman throws into the shuffle. Unfortunately, the ears can only take so much autotune.

The upside of the clunky script is some genuinely funny moments souped up by the comedic prowess of the supporting cast (a baboon named HeyMan throwing bottles at Giamatti, Cruise singing "I Want to Know What Love Is" into Ackerman's butt). Hough and Boneta have nothing to contribute to Rock of Ages, hammy leads with no material who pale in comparison to their '80s romantic predecessors. But the rest of the crew throw up sign of the horns and try their best to crank up the craziness, Baldwin and Brand making a case for a spin-off with their wacky rapport. A musical number in which the duo finally realizes their passion for one another would have made a great Funny or Die video, but padded with the filler of Rock of Ages, it has no room to shine. Even Cruise, who kills whenever he's musing full rock star mode, struggles to make the paper thin Stacee Jaxx work in his musical moments. The recordings are flat and lifeless, automatically putting a strain on the performers.

The music and the movies of the '80s share a similar aesthetic. They're over-the-top, they're hot and sweaty and they're about not giving a damn. Raw fun. Rock of Ages fails to capture that feel in both visuals and song, blowing out the flame of every lighter-waving moment with its stale recreation. For an energetic, entertaining two hours of classic rock tunes, stick to karaoke.

Director: Adam Shankman
Cast: Diego Boneta, Tom Cruise, Russell Brand, Julianne Hough
Release Date: 06/15/2012
Rating: 3 / 5
Genre: Musical

Movie Review Krishnaveni Panjalai Tamil

These are the days we are bombarded with commercial entertainers and these are also the times Tamil art-house cinema is almost beginning to sound like an oxymoron. However, a perfect blend of art house cinema and entertainment is always welcome and is becoming the norm of the day. Movies like Vazhakku En 18/9 tactfully straddled the thin line and provided us with a wholesome movie experience.

 Starring: Hemachandran, Nandana, Renuka, Shanmugaraja, Balasingh
Direction: Dhanapal Padmanaban
Music: NR Ragunanthan
Production: Dr. Santhi Duraisamy

To some extent, director Dhanapal Padmanabhan has managed a balance between commercial and art-house cinema in Krishnaveni Panjaalai. What you get is a minimalistic view of characters and their lives in the movie. There is only straightforward storytelling, but the characters are somewhat neatly sketched out. However, this gives a feeling of interrupted film viewing.

As the name suggests, the movie is about the trials and tribulations of running a cotton mill. The mill’s function is mired with incessant labor issues and ineffectual management. The story circum-navigates people whose lives are entwined with the mill and how the functioning of the mill forms the fulcrum of their lives. Somewhere there is a love story thrown in along with an honor killing by a mother who is unrepentant about her acts.

In a story that has myriad potential to be turned into a sappy and sentimental fare, Dhanapal Padmanabhan exercises restraint and presents an outsider’s look into the lives of characters. The way the plot is structured is neat and on the whole the subject is treated with sensitivity. The stories unravel based on the timeline of the mill’s closure and as the characters go about their lives, it slowly dawns on you that they are jobless for about a year – all this while pulling through financial difficulties.

The movie is dotted with actors who effortlessly slip into the skin of the characters they play. You learn that Dhanapal conducted a 30-day workshop preceding the movie’s shoot and that the movie has, for the first time in Tamil, a casting director – Shanmugaraja. All these efforts are pretty evident as the characters wade in and out and gather your compassion as they appear onscreen.  Krishnaveni is a film on mill workers and being the son of a mill worker, Dhanapal has the advantage of presenting it in a perspective mostly unknown to others.

All the actors, Hemachandran, Nandhana, Rajiv Krishna, Shamugaraja, M. S. Baskar, Ajayan Bala, Renuka, Thennavan, Balasingh, Poovitha and Hemalatha have done a neat job of handling their roles. Suresh Bargav’s camera ensures that you do not wander from the story by highlighting just enough that is required for the movie’s script. And one get’s a feeling that the editing could have been better. N Raghunandan’s music is passable. But the song, Aathaadi and Un Kankal grabs your attention.

On the flipside, it’s unavoidable that you get a slightly off-handed feeling of a documentary hovering around Krishnaveni Panjaalai. Also in some places, the film goes over dramatic. However, with movies that dwell into issues that have never been explored, it seems the viewers can expect an uprising of such products in Tamil.

Verdict: Realistic portrayal of mill workers!

Movie Review Spirit Malayalam 2012

Once in a Blue Moon comes a movie that makes your spirits soar and helps you forget the mediocrity that this medium often serves. That it does without seeking recourse to any manipulative tools we are all too familiar with, makes it even more remarkable. This movie solely depends on unalloyed storytelling skills.

SPIRIT is devoid of the prodigious feats and duels carried out by superhuman characters which are normally associated with Ranjith-Mohanlal team. Instead the movie presents real life situations with more scope for acting rather than for stunts. In fact Ranjith has been coming out with such films for some time now and he has been faithful to the pattern once more.

Reghunandan (Mohanlal) is an ex-Bank of England employee who resigned his lucrative job because he was bored with the rather sedentary nature of his work. Having lived in different parts of the world as a bank employee, he chose journalism as his next career and worked in different metropolises in India. Not satisfied, he quit the job yet again and is now writing an English novel. He is essentially a loner but loves his pegs and has an expensive collection of vintage drinks at home. Captain Nambiar(Madhu) is his next door friend. So also is Meera(Kanika) and her husband Alexy(Shanker Ramakrishnan). Strange as it might seem, Meera was once married to Reghunandan. And then Mani, the plumber enters Reghunandan's relaxed and comfortable life and changes everything, bringing some meaning to his life.

The film depends heavily on Mohanlal's histrionic skills to be convincing and it works. It is this effortless and natural performance that gives Spirit the lifeblood. Among the supporting cast, Madhu as Captain Nambair gives ample support , but the person who really keeps our attention riveted to the screen is Innocent. It has been a long time since he has portrayed such a character, but here he gets a chance to bring back the memories of vintage Innocent that we fondly remember.
Thilakan is incredible and comes up with a controlled and riveting performance. Kanika may not have much screen time for a leading lady but her performance will remain etched in viewers' memory. Shanker Ramakrishnan looks convincing with his style, mannerisms and dialogue delivery. Suraj Venjarumoodu, Nandu, Kalpana, Sidharth Bharathan, Lena, TP.Madhavan come up with fine performances.

Ranjith's movies, generally, are embellished with competent actors who deliver super performances. And here too, every member of the cast shines in his/her role, the length of the role notwithstanding. Shahabaz Aman’s music , Santhosh Raman's art work and Venu in camera also give apt support to Ranjith in bringing out a memorable movie, which may equal his bests.

''There isn't really a need to find reasons for each and everything. Or else, reasoning may soon become your way of life'' - Renjith reminds us through another best creation.
All in All, 'Spirit' is a refreshingly different movie .Recommended for all those who like to have something novel and distinct from the regular run of the mill stuffs. It is a slice of life which the populace and the regular persons would relate to.. A definite prescription for all, on theatres.
Cannot. Be. Missed!

Verdict: Spirit: Simple & Soulful. - Rating : 4/5 - SuperHit For Super Lalettan is Back

Movie Review Vadhyar Malayalam 2012

Vaadhiyaar has Jayasurya playing Anoop Krishna, a young man who ends up being a teacher, though it's the last thing he wants to be. With his dreams and aspirations hovering around a metro, where he pursues a dream job that earns him quite a bit, Anoop finds it difficult to teach Malayalam to a bunch of kids in a classroom that is literally falling apart.

Any aspiring teacher who walks into a class with a T-shirt that screams 'Drink Beer, Save Water', obviously doesn't have a clue as to what teaching is all about. The guy does know that the essential requirements to become a teacher are a B.Ed degree and ten lakhs of rupees, but clearly, he should have read about it in the news papers

The kind of act that he puts up in the class is even more obnoxious. The intention perhaps was to show his disinterest in being in class, but the manner of portrayal is way over the top. He uses his laptop to show movies to students while he chit chats on the phone, lying on the back bench! He offers chewing gum to the entire class and the kids chew away to glory! Where is this place? Timbuctoo? 

All it needs for Anoop Krisnan to see sense, is an IAS officer (Jayakrishnan) doing a Mammootty in 'Katha Parayumbol'. The civil servant speaks to an audience as to how Anoop's dad who was a teacher, had moulded his personality, and Anoop decides to turn over a new leaf. As the son of an illustrious teacher, why was it that he had never had an opportunity to realize how great a teacher his dad was!?

The epic transformation that is brought about in the school post Anoop's transformation into the ideal Guru is astounding. The man who wanted to be a post graduate in Business Administration sets himself to the task of renovating the school and in no time the school likes a children's park. Wonder where all the funds came from!

No effort has been wasted to praise the public education system to the hilt, but what is appalling is the way digs have been made at the private education system. The obvious contributions that both these educational systems have been making are ignored. A private school that has a Head Mistress who speaks decent English (Geetha Vijayan) is depicted as robbing ordinary parents (and their children) of their joy. A flustered mother (Kalpana) who is unable to speak English makes a similar confession to the Head Mistress of the Government Aided school; but not before letting the private school head get a piece of her mind.

This antagonism that the film harbors towards English is obvious in another statement that challenges an English man to pronounce 'Dhritharashtrar'. Very funny, is all I can say, since even as there is a proclamation that no language is superior or for that matter inferior to another, an attempt is made to prove the supremacy of one over the other. In another scene Anoop displays his verbal skills in English, at the end of which he affirms that he has had his schooling at a public school.

The script thus meanders over petty issues as these and skirts some very real issues casually. 'Vaadhyar' as a film leaves a lot to be desired, and would in all probability be taught a tough lesson at the box office.

Rating : 2 / 5


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Movie Review Crazy Loka Kannada 2012

Basavaraja Kattimani (V Ravichadran) is given doctorate for his services to the society by a University. On the honor of doctorate day in an inebriated mood his rival Sadashiva (Srinivasa Prabhu) pooh-pooh him. Basavaraj Kattimani is asked to obtain at least first year PUC certificate in his life. As a result of this challenge affluent Basavaraja Kattimani joins the college he has built. His son Abhay (Soorya) is studying in higher class in the college but Basu comes for I year PUC. More than learning for Basu it is teaching the humanity of life and non academic things to his younger students.

In the process of his attending to classes he falls in love with Sarala (Daisy Boppana) and this is mistook by his own son Abhay. In fact Abhay is loved by Chandini (Harshika Poonacha). Post interval is an issue that Basu joined the college with a fake marks card of SSLC. It is not the work of Basu but his secretary Harihara (Ninasam Ashwath). Basu is so innocent and knowing that he is facing the stage of debar from the college he decides to move out. He in fact loses the challenge but had done the major repair to the younger generation in the college campus for a better society.

It is a bad choice of selection of subject from well known director Kavitha Lankesh. There is no stuff in the subject. For the image of V Ravichandran and to the title of the film ‘Crazy Loka’ the lack of craziness is the major fault of this film.

The poor standards of technicality – the dark shots most of the times and no convincing screenplay and dialogues is not expected from director like Kavitha. She had given much more intelligent and touching subjects in her career. This is a major dip in her career. Look at Ravichandran for accepting this kind of subject. It is a major lapse from him. We have the classic example of Shahrukh Khan coming to college in ‘My Hoo Na’. For V Ravichandran the makeup should have been good. The camera angle for showing him on the screen should have used upgraded lenses.

Kavitha Lankesh being daughter of a teacher, journalist and well known director P Lankesh approaching for a fake certificate for a silly reason. Secondly with a fake marks card the film moves for more than two hours is baseless. A alternative to fake marks card should have been the thought of Kavitha Lankesh.

There are many uneducated persons in this society without even 10th standard qualification. They have got honorary doctorates. When that is the condition the challenge on the protagonist loses its relevance.

V Ravichandran the love master of Kannada cinema has not got the punching and powerful dialogues or worth remembering situations when he converses with the younger generation in the college campus. This is another big area the director should have drawn a good screenplay to get right attention.

The father in the college campus knowing that his son has crossed his limits he encourages it. This is a wrong signal to the youths again in the society.

Avinash as principal and Bharathi Vishnuvardhana as her mother is not convincing portion. It looks so weak and not lends anything new.

On the whole director Kavitha Lankesh has not used the right brilliance for a careful film to convince the audience.

This role is not fit for V Ravichandran. With tummy, hair style disturbing him often and of course the poor technical support adds up one more film in the career of the dream merchant of Kannada cinema. As Ravichandran often says the director should know how to make use of him the statement holds good to ‘Crazy Loka’. Director Kavitha Lankesh has not tapped the talent in V Ravichandran.

Daisy Boppana has an average role in this film. Avinash and Bharathi Vishnuvardhana are lively. Harshika and Soorya as young pair are tolerable.

AC Mahendran is a good cameraman and Manikanth Khadri is a tolerable music director. Then how come very poor results in both the department works on silver screen. It must be the UFO problem and poor sound recording system at Abhinay theatre where the media watched the first show on Friday morning.

Ele Elege Chiguro Thavaka…is the best song in the film ‘Crazy Loka’.

There is not deftness in editing. The grandeur seen in V Ravichandran films is totally missing.

Last but not the Least – Creative heads should not compromise in giving a convincing film.

‘CRAZY LOKA’ NASTY LOKA – 2/5
Cast – V Ravichandran, Daisy Boppana, Soorya, Harshika Poonacha, Avinash, Dr Bharathi Vishnuvardhana and others.
Direction – Kavitha Lankesh  
Cinematography – AC Mahendra
Music – Manikanth Khadri
Producer – Dr CJ Roy of Confident Group

  

Movie Review Endukante Premanta Telugu 2012

Ram (Ram) and Sravanthi (Tamanna) meets in Paris in an unusual situation. They turn friends and both their destiny is the same. They need money and passports to get away from there. Sravanthi helps Ram to reach India from Paris and she too finds a way to come there. However, Ram comes to know that there is something he doesn’t know about Sravanthi. This will set a goal for him in life.

Endukante Premanta is a complicated storyline which deals with illogical elements. In a way it is a romantic fantasy. Director failed to get the perfect balance between fantasy and reality. The film is illogical throughout. Despite offering few entertaining scenes here and there the film falls short of entertainment.

Director didn’t do much homework on the script and it is evident in each and every scene. None of the scenes touches you. Love story is half baked. The chemistry between the lead pair is absolutely absent. May be the storyline doesn’t demand intimacy between the lead pair, but that doesn’t mean love should be non-existent.

Endukante Premanta is inspired from the film Just Like Heaven. Director failed to adopt it to our style. Due to lack of proper work on the script it falls flat. On a whole Endukante Premanta is a badly done film with half baked story.

Ram was energetic. He did his best to the role. His performance was lovable and his presence was adorable. He has put in extra efforts in the dances to enthrall his fans. Tamanna did well as the damsel in distress. She was gorgeous in close ups. Rishi was just Okay as the villain. Sayaji Shinde was nice. Brahmanandam provides few laughs. Anu Hassan was decent. Kona Venkat didn’t make his presence felt. Krishna Bhagavan was alright. Rest of the cast did a fair job.

Prakash Kumar’s music was a letdown. Much needed Melody was completely missing. Background score was not up to the mark. Editing could have been better. Cinematography was an asset. Andrew’s camera work stands out. Dialogues were neat.

Karunakaran, who is known for making feel good romantic entertainers, faltered this time. Story and screenplay were the weak links. The director in him could have lifted the spirits but somehow brand Karunakaran was absent in this film.

Endukante Premanta lacks the soul and feel that are much needed for this type of films. Except for few funny sequences, the film offers nothing to any section of audience. The concept too isn’t universally acceptable.

Endukante Premanta Movie Rating: 3 / 5
Banner: Sravanthi Movies
Cast: Ram, Tamanna,
Direction: Karunakran
Music: GV Prakash Kumar
Producer: Sravanti Ravikishore 

Endukante Premanta Review – Endukante Premanta Movie Review, Rating, Endukante Premanta Telugu Film Review: Ram’s latest film Endukante Premanta released today. A. Karunakaran is the director and Tamanna played the female lead. Here is the review of Endukante Premanta…

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