Maayai

My review: Maayai

J.R.Kannan's "Maayai" has an interesting premise to work with but the execution is found wanting, as a result it ends up as yet another of those stale one-week movies that grace the second rung theaters. The thing with movies of these types are that invariably they would have a novel or not that frequently explored concepts. But these which are usually manned by untrained amateurs at a shoe-string budget leaves a lot to be desired when the end product hits the screen. Another problem is that since the makers are inexperienced in extracting work from the actors even the most experienced of actors tend to overdo their roles. "Maayai" is a typical example of  it all.

Story deals with jilted love, dual-personality and flashes of Stockholm syndrome. Though on paper the concept appears promising the end product is far from satisfactory. Plagued by snail-paced and boring screenplay, amateurishness of acting and tacky technical values, "Maayai" fails to fulfill the initial curiosity the movie kindles. J.R.Kannan, in addition to writing, directing and producing the movie, has also acted in the central role of the jilted lover. Like his direction, his histrionic skills also needs loads of imagination and hard-work.

Sanam Shetty is the heroine, her second role after impressive "Ambuli 3D". Here though she has ample scope to perform, she fails to pass muster. These are kind of actors who need a better director to extract and hone acting skills. She however is pleasant looking  and can make it big if she chooses better scripts and projects. Sanjay in a minuscule role does his part adequately. "Naan Kadavul" Rajendran has a substantial role to play but he too needs a better director to extract better work from him. Manobala irritates trying too hard to make us laugh in the name of comedy but to no avail. Others like Fathima Babu, Rajkapoor just make the numbers.

Music and songs are below average while cinematography is adequate. Technically movie is tacky.

On the whole, "Maayai" is a good concept marred by poor execution.

Bottomline: Forgettable venture.

1.5/5

Irandam Ulagam

My review: Irandam Ulagam

Selvaraghavan has a penchant for exploring the new territories right from his debut. Not only that, each and every movie of his invariably has engaging screenplay that keeps the audience in it's leash. This time around he has tried to explore another novel concept not explored yet in Indian cinema and at the outset one has to congratulate him for that. But the problem with "Irandam Ulagam" is unlike his previous movies this time his screenplay is very loose and not engaging even in parts. The movie moves at such a sluggish pace that in spite of you trying to get yourself involved with the movie it becomes very difficult to do so.

One wonders what has happened to Selva, that maverick writer-director that we all know of. "Irandam Ulagam" is more like an intoxicated rant by Selva against Tamil Cinema industry that is churning out commercial mass masala movies on and on, successfully at that. But what he has come up with is nothing but a kiddish movie that lacks not only soul but fails in the basics of movie making itself. Movie has come out more like a project for some movie making competition by novices of movie making rather than a full length feature film.

The screenplay and the direction are so shallow that it is difficult for the viewers to get affected by the characters, and their emotions. It is brilliant that Selva has stuck into such an interesting premise and concept. The cinematography (Ramji  who is awesome with his frames) and the visual effects are so grand and opulent (which look very very good on the big screen unlike the amateurishness that was stark in the trailer except for the bizarre Rama Narayananesque monsters ) which deserves standing ovation for considering the budgetary constraints the end results are exceptional. But Selva fails to pay the degree of respect such visual splendor and riot of imagination deserves with his lackluster writing and direction. The end product is like having built a palace par excellence with the grandeur and artistic imagination of a purist and then dumping it with all the old trash and garbage. Selva fails to pay the respect to first his creativity, then the medium of cinema and above all the movie goers who shell out their hard earned money and valuable time.    

Arya is a bad choice for this movie. He can't emote for god's sake and you wonder when the movie makers will finally realize it. The umpteen number of close-up shots that are intended to showcase his emotive skills are pure torture to the audience who are already under tremendous annoyance of having been taken for a royal ride by one of the most promising directors of recent times. Anushka is at least bearable in the role of Ramya. Her Varna role is wrought with confusion. The most comical thing in this "so called purist"movie is its support cast. None of the foreign actors can act. And by making them mouth Tamil dialogues the director is playing a cruel joke on the audience's sensitivity and intelligence. It gets so funny that even the so-called serious sequences end up being unintentionally comical. You will invariably end up getting the feel of watching a Tamil dubbed B-grade Hollywood movie that might have got a title "Murattu Kadhaliyum Muttal Kadhalanum".

"Pazhangalla" and "Kanimozhiye" are good melodious numbers by Harris Jayaraj. Movie's background score is by Anirudh. One wonder why for the result is nothing that impressive. By far the weakest work he has done so far.

Of all the inadequacies of the movie if there is one thing that may keep you glued to the screen it is Ramji's cinematography. His hard work and ingenuity of vision is evident in his frames which are on par with any international movie. Armed with brilliant Visual effects, each and every frame is like an opulent painting.

One wonders whether Selvaraghavan has become tired or lazy but his regression is hard to phantom. Nothing wrong in thinking out of the box and having grandiose ideas, but whatever one does one should not compromise on the basics. If you do, then the end result will be something like "Irandam Ulagam", half-baked, stale and almost repulsive.

On the whole, "Irandam Ulagam" is for Selvaragavan what "Mugamoodi" was for Mysskin, "Rajapattai" for Suseendaran, and "Nayyandi" for Sargunam. 

Bottomline: Free association on dope. 

1.5/5 

Captain Phillips

My review: Captain Phillips

Real life stories are always difficult to make in the first place and more difficult to make them riveting and interesting. Reactions, both positive and negative are bound to come its way from the people involved in the incident as well as those who have had some knowledge about the incident through media. Hence it is a very very difficult job to satisfy everyone. But when it comes to cinema who cares about the veracity of the truth or minutest details of the real life incident portrayed as long as the movie is a brilliant piece of entertainment. And to me "Captain Phillips" is brilliant cinema.  

Based on the book, "A Captain's Duty: Somali Pirates, Navy SEALs and Dangerous Days at Sea" by Richard Phillips and Stephen Talty, movie is written by Billy Ray and directed by Paul Greengrass. Greengrass is known for his fascination with fictionalizing real stories and events albiet more known as the director of "Bourne" movies. This time around backed by brilliant writing and stellar cast, Greengrass has made one of the best  movies of his career and one of the best this year in "Captain Phillips". 

Though everyone knows what happened to the MV Maersk Alabama crew and its captain Richard Phillips through media reports and news broadcast, while you watch this movie the makers succeed in making us forget those and gets us fully involved with the happenings. Hence it becomes an emotional roller-coaster ride for us viewers when we watch the whole hijack-cum-kidnap drama unfold. One gets to go through all the emotions  Phillips' family member would have gone through during those days. And when the movie gets over the predominant emotion that one has is that of relief. That goes to show the intensity of the movie and the writing as well the stellar performance of the cast.

Coming to cast, the two main characters enacted by Tom Hanks and Barkhad Abdi, that of Richard Philips and Abduwali Muse is one of the main reason the movie is able to evoke the kind of intensity in the viewers it did. For Tom Hanks' standards for most parts he doesn't have to flinch his acting muscles that much. But in the last 10 minutes or so he comes to his own amazingly portraying the mixed emotions of shock, relief and fear. So effortlessly done without going overboard, Hanks once again vindicates the top billing he commands as an actor par excellence. It is astonishing feat that Barkhad in his first major role is able to stand up to Hanks. He gets to mouth all the best one-liners in the movie. He breezes through his role with aplomb and assurance of a veteran. 

Writing makes this movie imminently watchable. The story is told as much in a neutral perspective as possible as a result one might actually feel for the pirates towards the end when they meet with their ghastly end.  In not demonizing the pirates and trying to show their humane face the makers have presented a balanced viewpoint to the viewers unlike many other movies based on such incidents. Movie makers' fascination with existentialism which has become a fad these days continues with this one too. 

On the whole, "Captain Phillips"  is one of the best human drama to have released this year which would make wonders at the academy awards for this year. 

Bottomline: The Award for the Best Picture goes to.....

4/5

Philips and the Monkey Pen

My review: Philips and the Monkey Pen

If you want to make a movie on the theme of how to deal with a difficult, under-performing child then this is it. "Philips and the Monkey Pen" is the answer and kudos to the writer Rojin Thomas and the director duo Rojin Thomas and Shanil Muhammed. What may look like a fantasy feel good movie for the children, it pans out beautifully into a hard-hitting message oriented movie in the end without even for a second sounding preachy. I am dumbfounded how the makers managed to achieve it but it is magical, not in its literary sense. 

Makers manage to keep your attention on their leash though at most parts you feel things that happen are too fantastical to be true. But you get all the answers in the last frames of the movie, said in a more poetic and restrained manner than your regular on your face didactic indulgences. Right at that moment when you discover the truth you get to feel that WOW feeling and instantly your heart goes for the makers, this one is too brilliant a script to be ignored. Though wishful it may sound still not out of the realms of possibility. 

When the protagonist kid ruminate the past events trying to put all the pieces together to get a sense of what has happened to him, we also along with the kid get the revelation one by one on our own. Most of the things that made no sense or looked disjointed finally tend to make sense or get rounded. This is what the intelligent movie makers must strive for, to treat their audience with respect and value their intelligence. Though initially one may disregard or take this movie lightly as yet another of those fantasy movies made for children you get pleasantly surprised by the narrative eloquence of the movie in the end. Rojin deserves special mention for his brilliant writing and Shanil for pitching in with the flawless and lucid direction . 

Without the actors, the writer's vision would be hard to get translated onto the screen. Hence one should appreciate all the kids who have performed with ease standing up and owning their space in front of the professional and more experienced actors. Sanoop is full of potential and has carried the movie on his tiny shoulders adeptly. The other three kids who make up the gang have lend adequate support. One was wondering throughout the movie what made Jayasurya take up this role for nothing much was there in it for him. But you would get the answer right in the end. Remya Nambeesan does her bit in a tiny role as does Innocent and other co-stars. 

Rahul Subrahmaniam's musical score and background score is brilliant and lends richness and artistry to the narrative. Neil D'Cunha's cinematography is world class, Each and every frame is so pretty and soothing to the eyes. Not only the landscapes, his camera has captured all the actors too with finesse and style. 

On the whole, "Philips and the Monkey Pen" is one of the best movies made about children and their difficulties and how parents should strive to be imaginative in handling them beautifully.  

Bottomline: Food for thought.  

4/5 

Pizza 2: Villa

My review: Pizza 2 : Villa

First thing first, "Pizza 2: Villa" is the second movie in the "Pizza" franchise and it is not the sequel to the movie "Pizza". If one has understood the difference between sequels and franchise movies then for those wiser people this movie is a blast. But for all those who come expecting a sequel then they might end up disappointed because this one is totally different from "Pizza". The makers have tried to drive home that point with their promos which clearly states this is not a sequel but entirely new story.   

Deepan's "Pizza 2: Villa" is a well written, well crafted mad very well made suspense thriller though on the outset it may look like a horror movie. Deepan has done a stupendous job with his research on various abstract concepts like parapsychology,  psychic activities, apparitional experiences,  precognition, etc. Since most of these concepts are curiosity evoking to most of us ( due to absurdity of it all to some and para-scientific explanation of redundant concepts to others ) the movie keeps you hooked to it. Deepan's screenplay is flawless and lucid, at the same time engrossing. 

It is a well crafted movie, each character neatly etched and rounded. Every scene neatly forms the part of larger whole, each intricately coalesced to produce a awesome wholesome. Except may be for that now redundant dream duet the formal structure of the movie is splendid. Movie also has the perfect pacing for the genre. Slowly the story picks up pace after a laid back initial scenes setting the tone and tenure of the story that allows the audience to get absorbed into the proceedings. Second half is full of events and by the time the movie gets to a crescendo it leaves you dumbfounded. Movie ends with more than a hint for the sequel though what will eventually happen in that story is already out. 

Santhosh Narayanan is the hero of the movie. What an outstanding background score Santhosh, take a bow.  One of the best scores in a thriller in recent times. The Atmos effect is also very well done.  Songs however fail to register. Deepak Kumar Padhy's cinematography is outstanding. The lighting, both interiors and exterior of the villa is very well done, apt for a thriller. Technically movie is one par with the best. It is astonishing how these new generation of film makers are able to make movie this stylishly and technically this grand with limited budget. The doyens of Tamil cinema, are you listening.  

Ashok Selvan as the protagonist (though not in the regular Tamil cinema sense) is adequate. Though he lacks the charisma of a lead, he still manages with his sincere effort. Sanchita Shetty is totally clueless about what is happening and what she is supposed to do. From her promising effort in "Sudhu Kavvum", this is a difinite fall from her. Vegan Rajesh gets a good part after a long time and he has done it well. Nasser is adequate while rest of the cast have done their parts to satisfaction. 

It is heartening to witness the young generation of Tamil movie makers trying out various genre and themes which are till now not much tried by our more established directors. Also the home work and research these guys put in and the quality of the end product they come up with are heartening. One can only hope that like Malayalam cinema is undergoing a brilliant transition after the young filmmakers started to take over, Tamil cinema also will follow suit. 

On the whole, "Pizza 2: Villa" is a neatly done suspense thriller that is engrossing, technically brilliant with outstanding background score, notwithstanding average acting.  

Bottomline: Exciting times for Tamil cinema.

3.5/5

All in All Azhagu Raja

My review: All in All Azhagu Raja

"All in All Azhagu Raja" (AIAAR) marks the halt to M.Rajesh's hat-trick of success and marks the hat-trick of duds for Karthi. It is really astonishing to see Karthi outdoing himself with every movie of his with his absurd script selection. After "Siruthai" became a surprise hit, smitten by the mass hero tag he has chosen movies like "Sakuni", "Alexpandian" and now this one, all of them worse than the predecessor. With  AIAAR, he has hit all time low. It will be a greater challenge to someone to make a movie that might be worse than this, and hence Karthi can heave a sigh of relief that his worst is over and he has only things to look up from here for currently he has hit the rank bottom.

One can see this coming from Rajesh. He too seems to be loosing his touch with every other movie of his. His previous "Oru Kal Oru Kannadi" was the weakest and most loose of his three previous movies somehow managed to hit the right chord with the audience. But this time he has made it sure that not even those who are starved of entertainment of any sort in their life would find it amusing. Not even a single scene makes you laugh, it only irritates. It would be a difficult challenge for anyone to finish watching this movie in theater. Only solace in the movie is Radhika Apte and the "Unnai Partha Neram" song and its picturization. Everything else is unmitigated torture. Wonder what anger the makers had on the unsuspecting Tamil cinema audience. 

Karthi needs to do a lot of soul searching. It is really surprising that coming from a family of intelligent actors he is not able to choose scripts that are at least okay, leave alone interesting. Movies that he has been doing off-late not only look bad on screen would not have looked any better on paper too. He should come out of his current brain fade for he is a good performer, earlier movies of his bear the testimony to the fact. Kajal Agarwal has made it a point to star in the most silliest of roles it seems. When was the last time we saw her in a more bearable role, probably never. 

Prabhu is getting overboard with his histrionics and irritating dialogue delivery. In the whole movie he is in the "Yenna koduma Saravana ithu" mode. YENNA KODUMA PRABHU SAAR ITHU..??!! Saranya is wasted totally. Santhanam is continuing with his poor form. But it is heartening to see him putting some effort in trying to do something different coming out of his comfort zone, banking just on his one-liners. Radhika Apte is pleasing to the eyes and is one of the few reason why one can sit through the second half albeit for for just half an hour.

Thaman's Ilayaraja inspired songs are good to hear. "Unna Partha Neram", a throwback to the vintage 80's is an instant hit. 

Sakthi Saravanan's cinematography is nothing much to rave about. Movie is technically there or thereabouts. 

On the whole, with "All in All Azhagu Raja" Rajesh has invented a new genre, like romantic-comedy, adult-comedy, black-comedy, slapstick-comedy, AIAAR is  "ANNOYANCE-COMEDY". 

Bottomline: Exasperating watch. 

1/5

Pandiya Nadu

My review: Pandiya Nadu

Vishal finally gets it right after having to struggle with his script selection and his never ending trysts with failure following initial success. Suseendaran also had a point or two to prove after his disastrous "Rajapattai" which was received with brickbats by both the critics and the viewers. Many started to doubt his abilities which he answered to an extent with his previous movie "Aadhalal Kadhal Seiveer". With this movie "Pandiya Nadu" he has taken us all back his "Naan Mahan Alla" days. 

"Pandiya Nadu" is of the same mould as "Naan Mahan Alla", a family-centric revenge action thriller the type Susee seems to revel in. Though the movie just falls short of the former "Pandiya Nadu" is one of the better commercial pot-boiler to have graced the screens this year. Movie has one of the most graceful and resourceful action sequence where the protagonist take on loads of  henchmen all by himself yet the action choreography makes its wholly believable, a tremendous job indeed. 

When the movie enters into the revenge mode one expected the wise and fearful protagonist to bank more on his intelligence and kill the antagonist with the use of his brain more than brawn. Though it is not all muscles with ample use of brain the intelligence in the execution is found wanting especially when the character is etched out as someone who thinks before he acts. Nonetheless the revenge part is portrayed in the most realistic manner possible as how any person who is naive to the ways of violence would do it. 

Vishal is very good as the protagonist. He has ample scope to perform and has utilized the opportunity well. He has "ACT"ed well after a long time. Especially in the climax action sequence the manner in which he has shown the fear of death which at the same time makes him retaliate with what ever he chances to get is brilliantly conceived by the director and the action choreographer and excellently performed by Vishal.

 Laksmi Menon has nothing much to do except managing to match up with Vishal with her height. Soori is good, managing to evoke laughter from the audience with his witty one liners. Bharathi Raja is good as the protagonist's father. His is not a routine "aged father of the hero" role, but has more substance. Only issue is that he overdoes with his histrionics at certain points. Sharath Lohithashwa is a worthy addition to Tamil cinema. With his menacing eyes he can sure go places. 

D. Imam is in terrific form and his background score is brilliant. His score manages to build the tension in the climactic portions. "Othakada Machan" and "Yele Marudhu" are earthy numbers while "Fy fy fy" is a foot-tapping number. 

Madhie's cinematography is awesome. Some his frames are very well executed. Especially the bus-stand chase scene is shot brilliantly. Movie looks stylish and the frames are grand. 

Once again Suseendaran has proved that to make a stylish action movie one need not have your protagonist wear designer clothes and coolers walking in slow-motion and mouth punch dialogues in exotic locales. You can still make a stylish and glossy movie with a dark-skinned hero set in Madhurai and yet make it engaging and riveting. 

Bottomline: The Diwali winner

3.5/5