Movie Review Maatran Tamil 2012

Maattrraan brings together the tested hit combination of director K V Anand and Suriya once again after Ayan. Touted to be the first Indian film to use performance capture technology, Maattrraan centers on conjoined twins as a basic arc but delves more on the adverse effects of genetic engineering when man starts thinking himself to be God. 

Anand’s previous films have established him as a mainstream movie maker with a lucid understanding of the semiotics of commercial film making that entertains and educates the audience to certain extent.

To hook the contemporary attention-scant viewer to the screen for an extended period is an uphill task and Anand succeeds in this domain fairly well. Good looking and efficient cast, rich and grandeur visuals, pleasing music, energetic stunts, an interesting premise and an able direction help him in this endeavor.

Interestingly for Suriya this is his second film on the subject of genetic engineering immediately after 7aum Arivu. Whether it is a restrained reaction or a cheerful retort, this hardworking actor delivers it with consummate ease. As the flamboyant Agilan or the grey matter rich Vimalan, Suriya brings out the necessary dichotomy quite well, very typical of him. His hard work and dedication is palpable in every frame. Be it the action sequences or the romantic frames, Suirya crafts a niche performance.

Kajal Agarwal has a significant role to play too and she pulls it off successfully. Chinmayee has dubbed for Kajal and the fact that the former can speak good Russian helps the character appreciably. However, even during serious scenes, the lady seems to be having a cheerful disposition! Sachin Kadekar has a meaty role next only to the hero and he gets his acts right with his fine portrayal as a maverick scientist. Tara who featured as Karthik’s little sister in Agni Natchathiram is Suriya’s mom in Maattrraan and the lady fits her role perfectly.

One of the major highlights of the film is its VFX unit and helmed by Srinivas Mohan of Endhiran fame, the team has worked hard and it is evident in all the frames that feature the conjoined twins. The action sequence at the roller coaster ride is the best example where all the departments like the camera, stunt, VFX and Suriya have worked in epic tandem and the result is brilliant. Editing plays a crucial role in such visual effects intensive movies and editor Antony has done complete justice to his craft.   

Cinematographer Soundarrajan creates a huge canvas in song sequences in the Nani Koni number and fills it with rich and spectacular sights. The splendor of Norway is breathtaking in this number. In all, the film looks rich and grandeur, thanks to Soundarrajan’s angles and lighting. Scintillating songs and good RR of Harris Jeyaraj enhance the appeal.  Kaal Mulaithe Poove is a visual and an aural delight. Other tracks are also humworthy.

It is apparent that stunt master Peter Hein has worked over time to get the appropriate effect more so when the scene involves conjoined twin. However the scene in the forest towards the climax is a long drawn affair and could have been trimmed.

The concept of genetic engineering and especially baby designing is new to Tamil cinema (or even to Indian cinema?) and Anand has packaged this concept interestingly. Humor does not course through the films’ veins but the scene at the theatre when the impish Suirya teaches a few lessons on romance to the somber Suriya provides light moments.

KV Anand has managed to make the script pacy. However at 2 hours and 48 minutes, the movie still feels a tad lengthy. This could have been reduced.

There is a pattern in K V Anand’s films. There is a definite social message which he masquerades with commercial components and packages it interestingly. Maattrraan also follows the route and it delivers what it promises- a rich and stylish entertainer with an interesting story.

Verdict: A rich and grandeur entertainer - Rating : 4/5

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Movie Review Sundara Pandiyan Tamil

Sasikumar's "Sundarapandian" manages to do exactly what his earlier films succeeded in doing - provide wholesome entertainment by portraying the protagonist in a lighter role sans sickles, swords and long chases. The film treads the path of love set in the backdrop of a village.

As a viewer you will instantaneously connect with the film because it doesn't boast any larger than life storyline, but a simple plot of romance between a boy and girl and its effect in a village.

Sasikumar has passed on the baton to his erstwhile assistant, who turns director with "Sundarapandian" and displays conviction in direction. However, signature moments of a typical Sasi film are felt throughout in the form of pleasant surprises and a few unexpected twists and turns.

Humour comes as a blessing to the film, as it manages to encompass people from all walks of life and keeps them hooked. All of Sasi's films in the past have been successful in keeping some level of excitement afloat throughout and so does "Sundarapandian", quite brilliantly. Thanks to director Prabhakaran, who not only keeps the audience engrossed but displays spontaneity in narration and dialogues in particular.

If you've been a follower of the hero's films, then you'd realise the importance he gives to familial relationship. There may not be many scenes with special focus on family in this film, but there are moments such as the prison-returned scene, where the strong bond between father and son is explored.

Appu Kutty, Vijay Sethupathi and others who play the supporting cast leave their mark in their respective roles to add to the film's overall satisfying output.

Director Prabhakaran takes a simple village story and makes it quite interesting with his adept narrating skills. At first, the film appears merely as a village love story, but with every passing minute there are moments that make up to a delightful watching experience.

 Raghu's music is passable, while Premkumar's cinematography lives up to the expectation and adds a bucolic feel to the film. The first half progresses with its share of dull moments which eventually pave way to an interesting second half. All in all, "Sundarapandian" is a satisfying wholesome entertainer.

Rating : 3.5 / 5

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Movie Review Paagan Tamil 2012

Srikanth after his supporting role in Nanban, returns as solo hero in Paagan directed by Aslam, who is from Ameer’s school of film making. Pagan has nothing to do with elephant mahout but the director views the term as a rider who could ride anything and in Paagan it happens to be a bicycle. Aslam’s debut film talks about the relationship of a young man with his cycle and the significant role the two-wheeler plays in his life.

Srikanth as the protagonist wants to make it big in life and is always flanked by his buddies Suri and Pandi who help him in this financial pursuit.

The film travels on a monotonous slow course and never makes you invest enough emotions in it or the characters in it. The premise is relentlessly old fashioned and is definitely not in sync with times.

The biggest drawback of Paagan is its mis-casting of the protagonist as Srikanth’s urban and debonair looks stand out in his characterization of the rural Subramani, a school drop-out. This works against the film big time. To add to the woes, the designer shirts he wears attract attention for the wrong reasons and belie his background. Nevertheless, Srikanth is sincere in his performance, giving his best to the story. But sadly his dialogue delivery also cries of urban diction.

Janani Iyer looks better in Paagan and gets to wear designer clothes and gallivants in coiffured hairstyles. The plus is that it is good to hear her speak her lines which give a nice tone to her character. Pandy and Soori have been designated to make the audience laugh but most of their humor fall flat and sound very archaic. Of course there are some occasional chuckle-worthy moments like the climax one and the scene where Srikanth tires Pandy and Soori reading out lines from Janani’s diary.

Kovai Sarala is as usual her loud self and A Venkatesh’s appearance is like a cameo.

Pace is a casualty in Paagan and the film moves on a very slow path. When many film makers are experimenting with form and content, Aslam appears to have been caught in a time warp with his cycle bomb. The voice of the cycle also sounds quite out of times. There is no serious conflict in the film and the knots (not that there are any) keep getting untangled without any serious event.  

On the technical front, cinematography by Lakshman is functional and the music of James Vasanthan is melodious and is light on the ears.

To sum it all, Paagan does not have much going in its favor and turns out a bland fare.

Verdict: A bland fare - Rating : 2/5 - Nothing Special

Movie Review Mugamoodi Tamil 2012

After having done four intense films, director Mysskin unmasks his seriousness to a simple subject of good triumphing over evil in this UTV production venture Mugamoodi which is touted to be Tamil’s first super hero subject. The epicenter of Mukhamoodi is the love of a young man towards Kung Fu and the master who taught him this martial art form and how he utilizes this skill to woo the girl of his choice.

Smooth narrative marks the 1st half of Mugamoodi which sets the expectation and curiosity levels for the second half. Although the theme may be old, the turf is new and Mysskin makes the viewing experience an interesting one for most parts. In fact he gives an impression that he has many exciting aces up his sleeve waiting to be spread on the table. However he lets his audience down in the second half which follows a crest and trough pattern with more of troughs than crests.

For all those Mysskin fans that wait to view his touches, Mugamoodi is replete with them. Like in the middle of an action packed chase sequence, we find a man and woman in a romantic soiree in a dark alley and the introduction shot of hero and heroine from their back side for an extended period of time to name a few. And of course the very ‘Mysskin’esque slow and lengthy shots!

The events that happen when Jiiva goes to convey his love to Pooja on her father’s wedding day in the pre-interval block is suspense filled and have been executed well. There are quite a few twists and turns in Mugamoodi. The scene where Jiiva’s father spills the beans about him in front of Pooja at the mechanic shop brings out the chuckle from the audience.

As usual Jiiva scores well and his dancing skills are really a treat to watch in the Bar Anthem number. He does his action shots also perfectly and overall it is a neat performance from him. And special mention to the stunt choreographer for designing exquisite action sequences with finesse. Pooja Hegde is the typical heroine and is just about ok.

Narain as the stylish villain hits the right notes with his sinistral looks but why does he resort to a theatrical style of dialogue delivery in the 2nd half? Nasser, Girish Karnad, Selva and other supporting cast have delivered what is needed for the film.  The characterization of the grandfathers and the hunchback needs mention as someone who helps Jiiva pursue his sincere intentions.

Vaaya Moodi Summa Iruda number is interestingly and differently choreographed but somehow misses the realistic touch that was evident in the beginning of the song. As though by some sort of compulsion, the song moves to a foreign location! This could have been avoided to give the visual spunk to the popular number.

Technically Mugamoodi is superior. K’s BGM is as rocker and his scores in the action sequences are outstanding. Cinematographer Sathya brings out Mysskin’s vision on the wide canvas with his lighting and night effect shots. Extraordinary work indeed! The attempt to show Kung Fu in its vibrant form should be lauded. Although the film has many action sequences, Mysskin has abstained from gore which qualifies the film for all ages.

There are quite a few foibles in the second half. The entire coast guard appears to be muted in front of one man Narain, but Girish Karnad et al appear to walk freely inside the enemy’s terrain. Too many characters in the second half and too many blanks to be filled by the audience themselves, the second half emerges tedious. If one expects some kind of super heroic acts from the hero, it does not happen as Jiiva delivers his acts in a costume but with super-heroic intentions.

Overall, if the pace and narration of the 1st half was maintained in the 2nd half too, Mugamoodi would have emerged grander.

Verdict: Pacy first half, slow second half but compensated by the overall performance and effort of the cast.

Rating : 4/5

Movie Review Perumaan Tamil 2012

Perumaan, directed by Rajesh Kannan, starring new comers Arjun and Sruthi has hit the screens after being in the cans for a long time. This is a suspense thriller that happens in the backdrop of Chennai.

Shakthi (Arjun), an IT professional aspires to be as famous as superstar Rajinikanth, for which he thinks he needs loads of money. An opportunity knocks his door, when his friend asks him to assist a businessman in getting the latter’s black money to India through an NGO. Shakthi does the job and becomes filthy rich. With so much money around him, he loses the peace of mind he had earlier. Fear of his money being stolen gets into his mind, unexpected traps await him and how he manages to survive is ‘Perumaan’ in a nutshell.

With too many pot holes in the script, the director fails to keep the audience engaged. Shakthi gets chased by many groups in the film, but the reason for this must be known only to the makers. The businessman asks Shakthi to maintain a low profile, so as to keep the money he earned a secret (A valid point). But it looks meaningless when he tries to kill Shakthi for eating in a road side tea shop. There are more such logical inconsistencies in the story.

Arjun looks smart, with his impeccable physique. But when it comes to acting, the hero creates an impression that he is attempting to say something. But he disappoints and with his cryptic expressions he leaves the audience pondering as to what he is trying to say.  None of the other actors, including the female lead, Sruthi have significant roles. There are one or two comic moments when Arjun’s friends are around.

CJ Rajkumar’s cinematography creates a short film like effect. It is evident that the makers have gone for a low end camera. Music director Vikram Sarathy (of the contemporary music band Staccato) has scored music for the film. Few of his OSTs are exceptional and the composer has made use of a variety of instruments. But towards the end of the film, the cinematography and the background scores together create a ‘mega serial’ impression, too noisy and too shaky. The lack of sufficient dialogues is also a major contributing factor in creating this sense.

To sum up, Perumaan could have been made as a decent short film. Fewer dialogues, jumpy song sequences and the dead slow script show the director’s desperation to make it into a two and a half hours feature film.

Verdict: Da Vinci’s codes are much easier to crack

Movie Review Aachariyangal Tamil 2012

So what happens when you accidentally wish for something to happen and, you know, God appears and grants your wish? You start believing in God? That shred of imagination seems to have caught the fancy of debut director Harshavardhan. In Aachariyangal, he weaves a very simplistic tale of families and relationships starting from the kernel as mentioned earlier. The idea might look novel on paper but translating it into a full length feature film requires a lot of seasoning-up of the script and Harsha has more or less succeeded in doing that.

Harsha is one of the few film enthusiasts (around 250 to be precise) to undergo a screen writing workshop held by Kamal’s Raaj Kamal Films with IIT Madras a few years ago. It’s unquestionable that he earned some of his writing skills at the workshop since the writing is fresh although the recurring themes of the movie are nothing new-fangled for the audience.

In a movie that has the potential to turn out to be insipid, Harsha peppers it up with incidents, albeit dramatic and tries to up its pace. It works, most of the time. And it’s commendable that he has not bowed to the pressures of adding the almost mandatory songs.

As for the story, if it isn’t evident by now; Taman and his friends, fresh pass-outs from college, celebrate their graduation and when he is drunk, Taman calls out to God beseeching him to make his life more interesting. And things happen from then on. Aachariyangal has every reason to make the transition into a thriller / horror movie but Harsha keeps it within the bounds of a lighthearted entertainer.

Taman Kumar plays the film’s lead and unlike other debut actors, he has a little more scope than just play the charming male lead of the film. Though not with flying colors, he passes with fairly above average marks when it comes to his acting skills. His bewilderment at the consequent events is captured subtly, thanks to the well written script.

Other actors, female leads Ritu Manga and Aishwarya have done their jobs neatly. So have stage actors like Shanty Williams and Amarasigamani. One gripe about the movie is that the drama gets quite overboard sometimes. Also, there is a very evident starting trouble with the movie as the first half just meanders along before the movie lands in its position with a thud.

Ganesh Ragavendra, whose earlier credits include the successful Renigunta, has rendered background score for the movie. Director Harshavardhan also handles the story, screenplay, dialogue and direction and hasn’t faltered much in any of the aspects.

But the biggest drawback with the movie is the feeling of seeing a television serial. The pace of the movie is also snail-like until it picks up towards the end. In fact the movie lives up to its title thanks to its final moments. The ending touch is also apt.

To conclude, Aachariyangal might not make your day but it has its trump cards lined-up just when you feel like brushing it away.

Verdict: Inspite of its meager production values, this one picks up steam towards the end and lives up to its title - Rating : 2/5

Movie Review 18 Vayasu Tamil 2012

We have had many movies in Tamil where the lead protagonist has some mental ailment. Starting from Sigappu Rojakkal down to some of Dhanush’s recent movies, there have been good films that have taken some psychiatric disorder and explored the same. Now we have 18 Vayasu, yet another movie talking about a mentally challenged youngster.

Here Karthik (Johnny) is a young man who has a unique disorder wherein he starts imbibing an animal’s characteristics whenever he notices one, under stress. A haunting incident during his childhood and physical abuse from his negligent mother are the reasons for this unique behavior.

He encounters Gayathri (Gayathri) and she is like a breath of fresh air in Karthik’s life. Mutual liking slowly blossoms between the two until Karthik’s disorder catches up with him and now he is forced to run for cover from the police. We also have a team of doctors who are ready to help him.

Another eccentric elder man named Jackie (Sathyendra) also joins him on the run while Gayathri is also inevitably lured into this chase. What happens to Karthik, whether Gayathri understands him and whether he is cured? Watch 18 Vayasu to find out.

Director Panneerselvam hasn’t resorted to violence, gore or skin show despite the scope for including such elements. The scenes when Johnny imbibes those animal instincts must have been a tightrope walk for the director and he has come out clean. The bull fight towards the end is a rocker.

Johnny is suited for such unconventional roles. In the entire movie he doesn’t remove his head-gear even once. The scenes in the first half when he slowly develops feelings for Gayathri are really well done by the young actor. The scenes with the old neighbor also make an impact. He has imbibed the characteristics of a dog, cat, bat, snake, bull and even a small insect. Must have been quite an effort!

Gayathri is a good find and she looks cute and emotes well too. Among the other characters, the desperate girl who tries to woo Karthik in the start is an irritant.

Rohini is wasted as the doctor who is ever-willing to help Karthik. Sathyendra as Jackie is a revelation though he goes overboard at times in his eccentric act. His constant dialog ‘Kaadhal Vaazhga’ is a pain at times. His funny encounters with the police are enjoyable.

Cinematographer Shakthi has done a decent job particularly in those animal instinct scenes.

The BGM score is a plus. The songs by Charles Bosco and Dinesh Kanagaratnam are average and wrongly placed. As a result, though the songs have been shot and choreographed well, monotony sets in.

Another minus in the movie is its length and the absence of detailing about Karthik’s disorder. The audience might also lose interest as tedium might set in, given the presence of eccentric characters who repeat their characteristics often.

On the whole, though a worthy attempt, this movie might not be everyone’s cup of tea. The director has taken his own sweet time to complete the movie. This might result in restlessness among the audience. If you are willing to forgive such speed glitches and some streaks of boredom, 18 Vayasu might appeal to you.

Verdict: Worthy attempt, but the subject and the slow narration will test patience - Rating : 3/5

Movie Review Paandioli Peruku Nilayam

Rasu Madhuravan, who made last year's incestuous Muthukku Muthaaga, returns with yet another tearjerker called Pandi Oli Perukki Nilayam. He tries his hand at comedy in the first half. It is juvenile humour, in excess, attesting to Rasu Madhuravan's belief that the average Tamilian skips puberty. It's very silly albeit watchable.

About halfway through this farce the comedy steps aside, giving way to its dramatic half to take over. The intermission has Madhuravan beg you from walking out. "Wait and See," is printed on screen. Not long after the film resumes, we see the heroine pluck a strand of hair from the hero's head, mix it with water and gulp it down. What does that signify? That she's a fetishist? Sheesh, this is a real snooze. And the music number infestation gives you a damn' headache. Your only option is to sit there pained.

Pandi Oli Perukki Nilayam might not be consistently bathed in sentimentality but the melodrama makes up for its late arrival by being one-hundred-percent trite. The hero is killing the villain (set to a looped track from Apocalypto) and is garlanded by four men whom he once wished were his brothers-in-law. Their garlanding is an act of gratitude for avenging on behalf of their dead sister. ROFL. Madhuravan is fine with being redundant and very comfortable with leaving sentimentality in its crudest state. He also loves pulling your strings as if you were an inanimate object and he, the puppeteer.

I walked out of the theatre feeling the tunes of the corny closing song resonate in my ears, questioning the validity of what I feel- a condescending attack on my intelligence and a successful way to reduce me to an idiot. This is just the kind of wretchedness that I felt last year, after watching Muthukku Muthaaga.

Rating : 1/5

Movie Review Edho Seidhai Ennai Tamil

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Movie Review Aatakathi Tamil 2012

Attakathi is yet another movie about love - that oft-repeated subject in Indian cinema. There have been numerous films and there will be many more on this theme, but does Attakathi provide a different take on love or is it the same ‘run of the mill’ boy meets girl stuff?

In the outskirts of Chennai, we see Dinakaran aka Dheena. He is a tutorial student due to repeated failures in clearing English in his Class 12 exams. He has his group of friends named ‘Lovers Boys’ and you guessed it right, their only job is to go on the footboard of buses and try their luck with every other girl they see. While his friends get lucky in love, Dheena is repeatedly snubbed and after awhile he becomes totally averse to love. But, when he meets his first love, Poornima, again the flames are rekindled. Will he get lucky in love for a change this time around? Watch the flick to find out.

The transition of Dheena from a naïve tutorial student to the roguish ‘Route Thala’ of his college is cool. The makeover changes are also noticeable. When he encounters his first love again, the conflicts that he goes through are also well portrayed.

The standout aspect of Attakathi is its light hearted treatment. Most of the scenes make you smile even though the story as such is minuscule. The scenes are also repetitive as there are so many episodes in the bus. That said, the karate episode in the first half stands out for its solid humor.

The hero, Dinesh, has made a good debut but he is a bit conscious given the fact that it is his debut. He seems to be a natural and is a promising find.

The parents of Dheena are a riot with their loud demeanour. All the friends are the typical filmy ones who would go to any lengths to help the hero in matters of love.

It takes awhile for us to realize who the real heroine is, as there are so many girls (Divya, Nadhiya, Amudha) in the first half but finally we realize that Poornima is the one. Nandita, as Poornima, is cute and the typical homely girl next door.

The songs by Santhosh Narayan are on the mark  - be it the rustic Aadi Pona, the gaana Nadukadalula, the peppy Va Routu Thala or the melodic Aasai Or Pulveli. The BGM has the accordion prominently.

The cinematography by P.K.Varma isn’t out of the ordinary as the film’s setting is earthy and realistic. The film goes at a sluggish pace at times due to the repetitive scenes and when the movie gets serious, it stands out oddly.

But just when we feel that the movie is resolving on a familiar path, we get a pleasant shock. Watch out for that.

To conclude, Attakathi will make a mark among the young male populace due to the subject. It is realistic; light hearted and turns out to be quite a ride, with its share of speed bumps.

Verdict: It’s a roller-coaster ride - Rating : 3/5

Movie Review Naan Vijay Antony Tamil

Naan marks music director Vijay Antony in a dual role debut, one that of a hero and the other as a producer.  It is also significant for him in terms of his musical journey as Naan is the 25th film for the talented music director. Naan is directed by Jeeva Shankar, again a debut director who had worked under the cinematographer/director, the late Jeeva.

“Nobody is perfect” is the arc around which Jeeva Shankar has woven his story with the protagonist Vijay Antony in tow. Jeeva Shankar’s characterization of his lead man sure stands out as he is unadorned of anything remotely called heroism and is far removed from the typical hero of a normal film. In other words, the line that separates the hero and the villain are blurred in Naan which could strike a chord with the audience.

Naan is the journey of man who seeks a path to undertake the travel of life but is deviated by the incidents that happen en route.

Performance wise Vijay Anthony just passes muster and needs to work much harder on emoting skills, body language and dialogue deliverance if he desires to continue this act. The pre-interval segment of confrontation with Siddharth where there is a huge scope to perform, he falters and his difficulty is perceivable. His character could have had a very disturbing life but that does not entail him to mouth all his dialogues in a flat manner without variation. Of course, his sinister looks help the character but having the same look through out is not redeeming.

Siddharth who was the hero in Anandha Thandavam makes an impressive presence in Naan and is suitable to his character to the hilt. In fact, the film that travels on a very dreary path hitherto, leaps up with Siddharth’s arrival. Rupa Manjari looks fresh, innocent and vulnerable and delivers her role with ease. Anuya’s role is just a cameo.

As a music director Anthony’s makka laya is good holistically. The song has been well choreographed, filmed, edited and performed. Other numbers are just passable. Jeeva Shankar’s camera work reveals his guru Jeeva’s touches and travels with the realms of the script.

The writing appears quite promising and exciting for most parts and the director keeps the suspense element intact in many sequences. Flashes of intelligence are spread quite evenly in Naan and the film is engaging for most parts. The scene where Vijay Antony simultaneously hits Krishanmurthy and a college student nonchalantly in the liquor shop driving away both of them is an example of astuteness.  In a similar vein, the pre-climax block at Siddharth’s home where he encounters Rupa Manjari is also riveting. There are patches of slowness on and off and if this could have been taken care of, Naan would have emerged as a riveting thriller.

It is not convincing when Vijay Anthony is asked to be in Chennai by the cops but he surfaces in Ramnadapuram. There are such glitches and unanswered questions but when the end credits roll with a ‘to be continued’ card, it is evident that the maker has a sequel in mind and perhaps has his answers there.

Verdict: Suspense thriller that works for most parts - Rating : 3/5

Movie Review Graamam Malayalam 2012

Its way back in 1938 that Mohan Sharma sets his 'Gramam' up in a Brahmin village, ridden by age-old customs and traditions. It's here that Thulasi (Samvrutha Sunil) gets married off in her teens to a young boy, only to find out that he has passed away a few days later.

Stripped of the very last bit of joy in her life, Thulasi is forced to lead the life of widow, along with her grand mother (Sukumari) in a secluded room. While the world outside grows ever more colorful with the customary celebrations on in full swing, Thulasi teaches herself not to venture out much into broad daylight.

The film however is no 'Parinayam', the Hariharan film that told the tale of a young widow who fell in love, and the script is what makes all the difference. While 'Parinayam' banked on a solid script penned by M T Vasudevan Nair, 'Gramam' stutters to make a similar impact, precisely because of the curbs imposed the script.

It's sad really, since the film does have several promising ideas that sound interesting in isolation. Their conjugation on screen however is half as effective as you would expect them to be.

Take for instance the woman who has supposedly gone insane, and who roams the village shouting out her witty one-liners. Much of what this character actually is, ends up being lost in the double entendres that she utters. Her comment on the same blade having been used to shave the crotches of the village teacher and for tonsuring the old widow is one of the many statements that get lost in the film.

Mohan himself plays the patriarch Mani Swamy who is the final word in the family. Mani Swamy is a dictator no doubt, and one who is downright scared of the village as well. However, in crafting the rest of the characters, Mani Swamy seems to have paled in comparison, resulting in an ineffective antagonist.

Mohan impresses more as an actor than a director in the film, and comes up with a strapping performance in the film. Nishan and Samvrutha leave a mark as well. The ever dependable Sukumari is amazingly good in a role that she essays to perfection. Yesteryear actresses as Priya and Nalini make an impact. Madhu Ambat's cinematography is remarkably good, and does bring out a striking contrast between the two worlds that Thulasi has lived in.

As the film races to a climax, the country gains freedom and so does Thulasi. Malli, the parrot that had remained in the cage for long, is set free as well. And you realize, that with all the energy and efforts, and with a fine thought running through, 'Gramam' as a film, should have been much, much better.

Review Yepadi Manasukul Vandhai 2012

Director P V Prasad, who brought action-romance thrillers back in action with his Kadhalil Vizhundhen, is back with Eppadi Manasukkul Vandhai. As unambiguous as the title sounds, Eppadi Manasukkul Vandhai is a love story that is about a young man who is even ready to commit murderous crimes to retain his love. Prasad has again travelled the Kadhalil Vizhundhen path; only that Eppadi Manasukkul Vandhai is also not as dark as its predecessor.

Prasad banks this romance-action drama upon his leads Tanvi Vyas, Vishwa and Irfan. All of them are new to the film camera (with the exception of Irfan who earlier appeared in Kana Kaanum Kalangal and a couple of other TV shows) and it shows. Tanvi, who was the Miss India in the year 2008, is the bone of contention here between two men – the girl who also triggers murderous instincts among one of the guys.

The movie treads on a simplistic story line of that of a love story. Vishwa falls in love with the high society girl Tanvi Shah. While he pursues his love valiantly, there are a few hurdles he must pass. To set them straight, he tries to take things in his hands, most of which are not in his control.

Vishwa plays the lead that is from the low rungs of the society. He is the son of a dhobi who falls in love with Tanvi, the rich girl. His flowing tresses and facial hair make for an interesting personality. He also has complete control over his dancing skills. On the other hand, his acting capabilities are questionable. He falters in the simplest of emotional scenes and makes the audience lose credibility in his character.

There’s a reason why pretty girls are selected as ‘Miss India’ and Tanvi Vyas is a living proof for that. What if she can barely act, she is pretty and that seems to have done the trick while deciding the female lead of the project. Nevertheless, since she has not too many heavy duty scenes, she pulls it off without any major glitches. Irfan’s television experience comes in handy and he plays the role of a rich lad who has ambiguous feelings towards a girl.

Another character worth mentioning is Ravi Kalai, who plays the corrupt cop. His character is strongly fleshed out in the beginning but it gradually falls into the shallow depths of predictability when the truth about him slowly comes into the picture. Cinematographer Vijay Milton is responsible for the often incisive dialogues of the movie. A curious, yet not so unnatural, progression for him from cinematography to dialogue writing. AJ Daniel’s music scores well in the hummable En Kadhal Nee Daane song.

Eppadi Manasukkul Vandhai has traces of Kadhalil Vizhundhen though it’s not the same. It has its heart in its place and the fact that Prasad has peppered it with enough plot twists and turns makes it worth a watch. It’s an engagingly shot, albeit not brilliantly performed, movie that might provide good time pass.

On the flip side, the first half-hour of the movie is agonizingly slow. As the director tries to lay the movie’s premise, it staggers to find its foothold and remains so until it picks up pace.

Verdict: Tough Love! - Rating : 3 / 5

Movie Reiew Panithulli Tamil 2012

Panithuli directed by Natty Kumar and Dr Jay marks the turn of Ganesh Venkatraman to play the hero. It stars two new female leads, Shobhana and Kalpana Pandit. This is a romantic thriller shot extensively in Chennai, San Francisco, Los Angeles and Las Vegas.

Panithuli is about Shiva, who separates himself from his lover and goes abroad, in order to prove the strength of his love to her father. Later, Shiva meets with an accident, forgets his past and falls in love with another lady. What follows and how he proves his love is what the rest of the film is all about.

After watching the first half of the film, it is very hard to imagine what the directors are trying to convey. It is a cluster of unrelated incidents that happen for no reason. During the second half, the directors have made a desperate effort to bring some sense into the film, but tragically fail to do so. The director duo has also attempted to surprise the audience here and there by bringing in many twists, but none of them is either surprising or necessary.

Ganesh Venkatraman’s acting looks unnatural. Being a model he is truly smart, but it requires a bit more than just looks to be a good hero. He fails to pull up a performance equal to the roles he did in Abhiyum Naanum and Unnaipol Oruvan. He looks incredible during action sequences, but needs to hone his dancing and emoting skills. Shobhana has done justice to her role. Kalpana Pandit’s English does not sound apt for an American born Indian. Her acting too isn’t that impressive.

Angel and Faizan’s songs are not catchy enough to hold the audience. Like Ajith’s Dheena had a BGM, ‘Dhinak dhinak Dhina Dheena’, Ganesh has also been given one that goes, ‘Shiva… Shiva…’ But it brings an unexpected laughter among the crowd.

Cinematography is neither spectacular nor bad. The editing in parts of the song sequences creates an ‘ad for a television reality show’ feel, with colours and designs in the background that don’t gel with the foreground.

Panithuli also falls under the list of films released this year on mental illness. The film talks about varieties of mental disorders and amnesias.

On the whole, Panithuli is just a less impressive portfolio for Ganesh Venkatraman, who has tried to show us that he can carry the roles of an action hero, a lover boy and a mentally unstable man.

Though the movie spans many locations and has a fair bit of gloss, the final product is pretty shallow.

Verdict: A frail attempt - Rating : 2 / 5

Movie Review Madhubana Kadai Tamil

Drinking is a way of life for a major chunk of the men in our state and the TASMAC wine shop is the place which is the biggest unifier as people from different backgrounds congregate to drown themselves in alcohol.

MadhubanaKadai traces a single day in the functioning of a typical wine shop. That day happens to be prior to Gandhi Jayanthi, which is one of the few days when the wine shop is actually closed. All sorts of people come to the shop and it is a roller-coaster at the shop as each character gets into some mischief or the other. Such is the power of intoxication.

The episodes involving two perennial drinkers, Chinnarasu and Petition Mani, are definitely enjoyable.  Even school kids, people who dress up as Gods and young professionals also make an appearance at the bar much to the amusement of us.

We have had many Tamil films where the wine shop is the scene of action for a few scenes. Santhanam has provided many a funny moment in his films with his drinking. But here, the entire movie is replete with such incidents which just become an overdose beyond a point. You just become numb as the same incidents revolving around alcohol are played out over and over again.

A love track involving the wine shop owner’s daughter and one of the employees in the shop named Rafeeq is one of the very few distractions from the scene of action.

The director Kamalakannan has also used this movie to highlight some issues like illegal adulteration of alcohol and the fact that laborers like drainage cleaners depend on alcohol for some peace of mind.

Ved Shankar has given two enjoyable mass numbers while the song that comes before the finale, is poignant. His re-recording tends to become too noisy at times in his attempt to capture the ambience of the wine shop authentically.

The camera is constrained within the wine shop for almost the entire movie while the set design for the wine shop has been done authentically.

The target audience for MadhubanaKadai is restricted and some people might even get second thoughts just seeing the title of the movie.

To conclude, the director has intentionally avoided any structured narrative and has just showcased some incidents that happen in a typical day at the wine shop. One can safely say that it is an out of the box attempt

Verdict: Experimental attempt but not very intoxicating - Rating : 2.5 / 5 - Half Baked

Movie Review Madubanakadai Tamil 2012, Tamil Movie Review

Movie Review Mirattal Tamil 2012

While recent films such as Murattukaalai and Pollangu have grinded the senses they still involve you in their affairs, even if it is by force. You respond negatively but still, they trigger a response. I came to this realization at Mirattal; a film that numbed my senses. This isn't among, or for that matter anywhere near, the worst films I've seen. But this takes the cake as the film I've had the most displeasure of encountering.

I just sat there lifelessly watching all these colours and lights and shapes on screen change at will. And instead of hearing dialogue and music, I heard noises and, well, other kinds of noises. Santhanam might have managed to slip in a joke or two but the rest fall flat on their face. There's nothing to invest here and no payoff to expect. You come in. You go out. End of story

Mirattal bears little consequence to anyone or anything, except the ones funding it. Absolutely trivial. I could throw in a few more adjectives there. Like brain-dead, heartless, tranquilizing etc. But I won't, because I don't seem to be able to vividly summon one scene from the film, to mind. Volatile stuff.

Rating : 2/5

Movie Review Mirattal Tamil 2012, Tamil Movie Review

Thaandavam Official Trailer Theatrical Promo Tamil Movie Vikram & Anushka

Vikram, Jagapati Babu, Anushka, Santhanam, Lakshmi Rai, Nasser starrer Thaandavam directed by Vijay is all set to hit the screens, and the music of the movie is going to be an absolute stunner with G.V.Prakash Kumar handling the chords. Here is the first official theatrical trailer promo of the movie Thandavam.

Movie Review Suzhal Tamil 2012

Film-maker Jayakumar thinks assembling pretty faces and shooting them in picturesque locations with nice-sounding music playing in the background is enough to satisfy an audience. The first half of Suzhal has nothing to offer. That is, until a tragedy befalls the central gang of friends. And I chuckled; not just because I was so disconnected from the characters, but because it was staged like it was supposed to be funny. One character dies and her elimination from their gang is symbolized by a hand game- Saa, Boo, Three. ROFL. Kollywood is filled with such accidental dark comedies.

By now most of the music numbers have been done away with. And this pointless fare takes us to a remarkably gripping second half. However, the chances of you getting here are slim. This is one film where swapping the first half with the second would be an improvement. The latter half takes place inside a luxury ship. The attention to minor details, the distinctive look, the apt setting, the choice of actors and the dark, tense atmosphere.... it feels like someone else walked in and directed it. The key ingredient to this part of the film is Jayakumar's customized version of Russian roulette, a game of death, which the lead character gets dragged into unknowingly. It is indeed not how you play the game but how the game plays you.

Rating : 2.5 / 5

Movie Review Pollangu Tamil 2012

A woman in a car is being chased by a truck carrying four guys who look like rapists. For some reason, even in all this commotion, she's at the driver's seat steering away while her husband chills in the back seat, faking panic. This woman seems to communicate through screams. And she doesn't seem to be able to shut up. By the end of the day, when the four men are tired and worn out, one of them says "I need to take rest, da." ROFL. Screenwriter, do you enjoy being laughed at? Do yourself a favour- retire while you still can. Half the dialogue exchange between the actors is just loud, piercing cries. Imagine that on the script- vowels lined up against each other, page after page. The chase lasts all the way up to the intermission. One. Big. Gimmick.

By swapping the second half of the story with the first, filmmaker Gandhi Marx just gives himself the false hope of turning this into a success. But Pollangu was destined to be a failure. The placement of the music numbers only ascertains it. There are two music numbers and they fit here with as much cohesion as an intermission does with a Hollywood movie. That they first made the music numbers and then the film, is evident here. When they finally had both, as two separate pieces, they decided to somehow stick one into the other as if they were aiding some kind of abnormal copulation.

The second half of the film, which is actually the first half of the story, shows us how this happy couple got dragged into the chase. The characters lack basic cognitive functioning and their antics make them detestable. Pollangu is sure to ruin your day.

I suggest you see for yourself. You wouldn't have seen anything like it and you never will. I should warn you though- this pathetic excuse for a chase film becomes torture porn. Treading on necrophilia, Gandhi Marx shoots up the gore. While that would be fine had it had at least a pinch of realism, it doesn't. This is downright ugly.

Rating : 1/5