Rekka

My review: Rekka

This seems to be the season for dumb movies. Couple of weeks back I thought "Thodari" would be the dumbest movie of the year, but I din't expect that so quickly there will be a strong contestant vying for the title in "Rekka". Vijay Sethupathy who was on a purple patch seem to have hit a dead end with this insane movie. And the movie answers the reason as to why the director Rathina Siva's debut movie is still sleeping in the cans. 

Some movies can be boring yet you can sit through it with redeeming features coming in the form of bearable comedy or hearable songs. But "Rekka" is a masterpiece that doesn't allow you to relax even for a while. It is a full blown saw slayer. Though couple of songs are melodious, the visuals just make you aversive. When things are already going haywire, the flashback scenes are one of the most dumbest sequence ever. Why should every one beat up Kishore to the extent that he becomes mentally deranged when every one in the village were after that girl. 

Vijay Sethupathy seems to be clearly uncomfortably doing this role. In the action sequences where he just tosses around people like they are five rupee coins, he looks as if he is trying hard to control his laughter. Everything about Lakshmi Menon is terrible in movie, right from her make up to make up of her character or her family's. The villains are comical caricatures that you keep laughing our loud at the effort these unsuspecting individuals are putting in such a poorly written and portrayed roles.

On the whole, "Rekka" with its A-grade cast and B-grade sensibilities is THE dumbest movie of the year beating "Thodari" by miles.

Bottomline: Rekka romba mokka 

0.5/5  

Remo

My review: Remo

"Remo" is 9th film for Sivakarthikeyan as a lead hero but still he has not learnt to act on his own other than in comical portions . A top mimic he is, he only mimics the actions of actors mainly Vijay, with situational mimicry of Rajnikanth, Karthik, Madhavan, Surya, etc as when the scene warrants. Even in the lady get-up what we she is a spoof acting that one can see in the Sivakarthikeyan's most famous TV show of the past, "Adhu Idhu Ethu". He can scrap through with such histrionics in movies like "Varuthapadatha Valibar Sangam" and "Rajni Murugan" as emphasis is mainly on comedy in those movies, but when it comes to mass movies like "Kaakki Sattai" and for that matter even "Remo" his efforts can be seen as nothing  but a mimicry of a Vijay wannabe. 

Bakkiyaraj Kannan seems to be content with playing it safe with what he considers as the mandatory ingredients of a commercial entertainer, but only mistake is that all these ingredients are a decade older.  Good for nothing roadside romeo falling for a girl in matter of seconds, stalking a girl in the name of love, misogynist dialogues, female bashing love failure song, child sentiment, etc, etc, etc, have been battered to death in tamil cinema. Hence this movie is so predictable that it  just bores you no ends.

Coming to comedy which is Sivakarthikeyan's forte, this movie boasts of nothing in that regards, except may be couple of scenes in which now in form Yogi Babu enthrals. Keerthi Suresh is getting type cast as a "loosu ponnu" whether her character is a doctor or a makeup assistant. After a neat introduction in "Rajni Murugan", things are going downhill for her. Satish doesn't evoke any laughter anymore. Saranya is terribly typecast.

Movie's only positive is it's cinematography which is awesome. The colour tones are stuff only a legend like P.C.Sreeram can produce. Anirudh's music is only average. "Senjitaale" is a good song but others are letdown. background score is loud and scratchy. 

On the whole, Bakkiyaraj Kannan has wasted a golden opportunity. Touted to be a romantic comedy, "Remo" is neither romantic nor comical, utterly predictable and boring except couple of sequences here and there.

Bottomline: Misogynists' delight 

1.5/5 

Thodari

My review: Thodari

Prabhu Solomon's "Thodari" is one of the most regressive movies of the year. It is shockingly inept and boring that one can only wonder what made the makers support such a half backed attempt. Poor scripting, bad direction and over the top acting makes it a tedious affair to sit through. Prabhu seems to have been caught in no man's land in trying to make a "Speed" like thriller with "elements" which ought to have been mandatory for a "star" movie to keep the commerce of the movie afloat. But precisely these elements along with poorly written cardboardish characterisation that pulls down this movie. 

When was the last time when you had a movie that had the lead actors perilously caught in a speeding train and just after having escaped being burnt alive on a moving train breaking into a song and dance routine "pona usuru vandhudichu ". Yes, "Thodari" is that dumb. Every actors go over the top, starting with Keerthi Suresh. This should be one of the most forgettable performances of her till now including her other language movies. Dhanush just sleep walks through most of the movie with occasional "Sullan"ish recourse. 

Movie's direction is so stupid that most of the CG shots are so manifestly seen on screen and very pathetically done. In the shots where the train is moving forwards, you would expect the hair of the ones standing on train to flow backwards, but in this movie it is just the opposite defying the law of physics. The making is that careless. 

For a thriller of this kind, establishing and sustaining the mood is important. But when you have cartoonish comedy by Thambi Ramaiah and co and idiotic banters between the lead pair that just kills the mood, the end product is such a dumb one.

Bottomline: Dumbest movie of the year.

1/5 

Aandavan Kattalai

My review: Aandavan Kattalai

Manikandan seems to be one of those rare creators who don't know how to make a dishonest movie. In the three films he has made so far none of the movies had anything that can be characterised as contrived, or artificial. He has this knack of taking up a simple knot and weaving a very interesting plot that keeps you hooked to the screen. And another strength of his is the casting and the work he extracts from his cast. In none of his movies do you feel like watching actors act instead you feel like a spectator keeping a voyeuristic view of  real lives unfolding on screen. 

Co-written by Manikandan along with Arul Chezhiyan and Anucharan, "Aandavan Kattalai" is one of the best written movies of the year. A fan of such well written Malayalam movies, this one gave me a feel of watching one of those. That the movie deals with a message that crooked path never succeed, you don't feel even for a second that this message is fed to you. Instead as you leave the theatre you keep ruminating about it and keeps you thinking. And that the whole movie has a breezy, feel good feel with a healthy  undercurrent of humour is a task that even the most established names in the Tamil film industry fail to achieve time and again or never attempt to achieve.  

There are numerous scenes that are gems and keep you cheerful and thinking at the same time. The stretch that deals with finding a house for rent for bachelors in Chennai, the one in the court room where there seems to be more people vying to get divorces that those who are getting married, the casualness with which there seems to be a web of corrupt individuals who cut across various departments who get glued by the brokers or middlemen in dealing with each and everything that seems impossible for a common man to even think of, the list keeps going on and on. 

When was the last time you have a srilankan refugee character portrayed with such dignity and reality without making them a caricature to make political statement. When was the last time you have seen a movie that deals with corruption that doesn't paint these corrupt individuals in black and white. When was the last time you have seen a movie in which the strict straight forward officials portrayed with humanity without compromising on their honesty. When was the last time you have seen amovie that deals with corruption and doesn't end with the protagonist going a long sermon in the end towards the audience. 

Casting is topnotch in this movie in which each and every character is written memorably however minor it may be. The family court judge, the CBI officer, the regional passport officer, the house owner, the old man who fudges signatures, Karmegakuzhali's mom, Sri lankan refugee friend, the fake passport dealer, the counsellors, the advocate and his assistant, the list is endless. Casting for each of these roles are perfect to the Tee and the performances of these actors so effortless and natural. 

Vijay Sethupathy is terrific in an understated role. It has been a long time since one has seen him so casual and natural without having to try prove his acting prowess. Rithika Singh once again vindicates that fact that she is one of the astounding talents to looks out for. Unlike "Iruthi Sutru" this movie doesn't have much for her as far as stimulating her acting prowess is concerned yet she makes her mark in the limited opportunity. Especially watch out for that scene towards the end when Vijay Sethupathy proposes to her and her reactions to that, just terrific. 

Movie gets rounded off with a very supportive back ground score by K and seamless and fluid cinematography by Shanmugasundaram. Manikandan in my view is the next big name to contend with in tamil cinema, who makes pure cinema with content that is both classy and that which strikes a chord with the audience too. I rate him better than other overrated yet talented auteurs like Karthik Subburaj, Vetrimaran, Ram, etc. 

On the whole, "Aandavan Kattalai" is one of the most well made and thoroughly enjoyable movie of the year with a pertinent message for the current society.

Bottomline: Extraordinary cinema

4.5/5 

Iru Mugan

My review: Iru Mugan

Anand Shankar managed to scrap through his debut "Arima Nambi" with the first 60% of the movie being fresh and interesting though the final 40% was a banal affair. That result could have resulted in two outcomes. Either he would have got the criticism in a right perspective and could have made a movie that is 100% fresh and engaging or he would have got carried away by success of that movie in spite of it's banality that he could have thought why break sweat when all that the audience need is some fancy scientific references and a star who can carry any inane movie with his stupendous acting. In "Iru Mugan" Anand Shankar seems to have settled for the latter. 

It is one of the dumbest movies that I must have seen in the recent times. With gaping logical loopholes which come across more glaring due to a sluggish screenplay, "Iru Mugan" is a tough movie to sit through. First half does show some promise but the second half is torturous. Every scene is predictable and the screenplay faithfully follows the tropes of the movies of the 80's that you don't get engaged with the proceeding on the screen. In a movie that is touted to be an action thriller Thambi Ramaiah as a bumbling cop is a major mistake. Even the character of Nithya Menon is grossly under written after a point you don't even notice her on screen, hence when she finally gets killed you don't feel even an itch. I wonder what made her sign this movie in which she just appears as a glorified extr other than a fat pay check and an opportunity to be a part of a mega budget superstar film.

The character of Nayanthara is another carelessly written one. The twists and turns her character undergoes through the movie is straight from the times of Jaishankar's spy movies. And when there is a very serious turn of events is unfolding which leaves the protagonist in danger of being dubbed as a villain of a foreign country, the two lead protagonists ride in a car bantering in a lighter manner which is totally out of place. In one of the most serious stretches of the movie when the life of an important big shot of Malaysia is at stake we have a running gag of the antagonist in a nurse costume and a policemen swooning over him which is plain mockery. Such tonal inconsistencies leave you only exasperated. It seems that the director Anand Shankar seems to have underestimated the taste of the audience. 

And finally the man himself, Vikram seems to have tried a bit too much in his role of "Love". Unlike in his previous movies where he had effortlessly gotten under the skin of the characters he had portrayed as Love, he is very artificial that it gets plain irritating when even that character appears on screen. In a more conventional role of that of the protagonist, Akilan, Vikram is back to his usual fluent best. But it is disheartening see such a hardworking actor being taken for ride time and again by such pathetic projects. 

On the whole, "Iru Mugan" belongs to the days of "Moondru Mugam". 

Bottomline: Cheap thrills. 

2/5 

Kuttrame Thandanai

My review: Kuttrame Thandanai

From the makers of "Kakka Muttai" comes "Kuttrame Thandanai" with M.Manikandan at its helm. The movie is a pure crime thriller with a backdrop of moralistic rumblings without any digressions whatsoever which is rare in Tamil cinema. There are no songs, no comedy tracks, no romantic track. M.Manikandan needs appreciation for the conviction and confidence he has on this script co-written by him along with Anand Annamalai that he has has not lost focus from the plot he is dealing with. 

The movie is not the regular whodunit that deals with the investigation and twists along the way. It is a straight forward crime drama that takes time for it to take off but once it does then it keeps you glued to the screen that you won't feel that 100 minutes has elapsed. The screenplay is so riveting. Only grouse is why can't the movie makers spare the medical community. Here there is a far fetched plot contrivance associated with a dramatic twist towards the end by conveniently and quite unrealistically portraying doctors and hospitals in bad light. Anyone who is familiar with medicine would right way know that a condition like Retinitis Pigmentosa is untreatable, especially in these days of google. 

The movie doesn't have an abstract or an open ending as many are claiming. In my opinion the ending is pretty clear from the fact that the one who commits the crime ends up getting punished, thus justifying the title. 

Movie works majorly due to brilliant cast and their acting. Vidarth is terrific in the lead act as a person who is afflicted by a rare condition of eyes that can lead to progressive loss of vision. Rahman and Nassar are equally effective in their roles. Aishwarya Rajesh is haunting in her role until her final act which kind of ends up being cinematic while Pooja Devariya is excellent. 

Movie's background score is simply superb though at certain places you get reminded of scores from his movies of the yore. Ilayaraja is reliable as ever. Manikandan himself helms the camera as well with elan.

On the whole, "Kuttrame Thandanai" is a riveting crime drama that evokes and sustains your interest throughout though you come out with a feeling of having missed something. 

3.5/5 

Dharma Durai

My review: Dharma Durai

Seenu Ramasamy is known for movies with solid screenplay and seamless narration. His previous release "Neerparavai" is one of my favourite movies of all time. But his latest release "Dharma Durai" is just an average fare. Movie doesn't have a solid screenplay and the seamlessness of the narration is missing this time. But that is the offshoot of the story-line which traces the life of a doctor from his time at college through his engagement, tragedy, getting into alcohol addiction and finally his redemption. Hence the screenplay is just a compilation of various incidents that happens that timeline of his life. 

But the amount of homework and research that Seenu seemed to have done in "Neerparavai" is missing this time around. In "Neerparavai" he came up with authentic portrayal of alcohol addiction as an illness may be for the first time as far my knowledge is concerned. But sadly here where he has again dealt with alcoholism for a major chunk of the movie, the things are loose. I had always wondered what prevents the director in consulting a medical student or a professional about their course, books, etc. Here we have the 2nd year students in the dissection class of Anatomy, a pathology professor performing surgery, an important character who introduces himself Dr So-and-So, MS,MD !!! 

Vijay Sethupathy is terrific once again. Watch out for that scene where he seethes with rage mixed with grief going after his brothers. Tamanna and Aishwarya Rajesh are excellent while Shrusti Dange is below average. Seenu Ramasamy always comes out with a strong mother character and this time Raadhika Sarathkumar aces the role with aplomb. The support cast lend admirable support. M.S.Baskar is terrific in the role of a poor father. Wonder why this powerhouse of talent is not used properly in Tamil cinema.

Yuvan Shankar Raja's background score is good while none of the songs passes muster. Technically the movie is average, 

On the whole, one can't but help getting reminded of Vikraman movie's of the 90's, the trope of which this movie astutely follows minus overt melodrama and climax sermons replete with analogies. 

Bottomline: Letdown from Seenu Ramasamy

2.5/5

Appa

My review: Appa

In our younger years there used to be some movies which were huge hits when the dialogue portions of the movie were released as audio. Most of these movies dealt with issues that affect the society and had powerful dialogues. The movie as a whole would have been an average affair but they raked in the moolahs through these audio cassettes. Samuthirakani's "Appa" is a perfect candidate for such a audio release.  His angst against the crooked education system and the pressurising parents are well and duly noted, but the movie is only talk and talk and more talk. Characters keep talking on and on and on before the tedium sets in.

Though the scenes and sermons directed at the faulty education system is laudatory, Samuthirakani seems to be paranoid in almost all things modern. Case in point is institutional delivery.  In the times when the country is striving for cent percent institutionalised delivery, in this movie Samuthirakani has seen it with a paranoia and dolls out unscientific eulogies on home delivery which is regressive. Likewise he seems to have an outlook that is tinged with paranoia with respect to anything and everything that is not traditional. 

But on the same time there are exceptional sequences like the one in which he allays the fear of his adolescent son in dealing with opposite sex. But even a good sequence like that of a person who is physically challenged achieving something in life is marred by overdose of melodrama  which is what pulls down the movie's quality. 

All the actors have had a field day in projecting their histrionic skills to the maximum that there is no room for subtlety. Technically movie is very tacky. Ilayaraja's background score is the sole redeeming factor in other wise banal film making.  

On the whole, "Appa" is an overdose of on your face propaganda enacted by over the top actors marred by overenthusiastic direction though the intention seems noble.

Bottomline: Pressure of speech 

2.5/5

Joker

My review: Joker

Raju Murugan after his impressive debut with "Cuckoo" turns his focus on political satire for his second movie, "Joker". As a political satire "Joker" must be one of the boldest ever attempted in Tamil. Unlike in movies of this genre in other languages, Malayalam in particular where they don't fear about using the names of political personalities and parties, in Tamil the approach has always been that of caution. But Raju Murugan has courageously used names of politicians, and tried his level best to hint at the follies and trickery of the current political establishment. He has not spared anyone in that regard. 

The strength of the movie is its dialogues. Though there are numerous instances they cross the line in becoming sermonising, Raju Murugan has tried his level best to reign in things. Though the dialogues take the centre-stage and the visual story telling is limited, he had made up for it with a poetic flashback portions that also reaffirms his mastery over romance. But then he is such a mood that even these portions are not bereft with the sermons but at least they crop here and there only. 

The problem with "Joker" is that for the most part of the movie, the screenplay is somewhat loose which fails to engage the viewers in a regular manner, hence the impact the movie ought to have made gets diluted. In spite of these shortcomings somehow I felt a tinge of sadness by the  time the movie ends. That is mainly to do with the acting of Guru Somasundaram, who is just terrific in such a complex character. His straight face is still haunting long after the movie got over. 

Movie's strength other than the dialogues is its casting. Everyone cast in the movie are perfect for the roles. Since most of them are unfamiliar faces, they come across as real people inhabiting the landscape the movie is set in. Guru Somasundaram, a grossly underrated and underutilised actor, has been used well by this movie's director. Ramya Pandian is expressive while Gayathri Krishna is  earnest. Mu Ramasamy is casual in her performance. 

"Chellamma" is a haunting number by Sean Roldan. His background score is another pillar of strength for this movie. Chezhiyan has captured the arid regions of  Dharmapuri district with panache. 

On the whole, though "Joker" talks a lot about the prevailing malice due to the politics of the country and how government and its machinery can wreak havoc in the lives of its innocent citizens anytime, the overt preachiness could have been toned down a bit.  

Bottomline: A hard pill to swallow.

3/5

Pelli Choopulu

My review: Pelli Choopulu

While watching "Pelli  Choopulu" I was just wondering why such breezy, well made romantic comedies are not getting made in Tamil. Not that they are getting made regularly in Telugu either, but they come up with one or two such gems every year. I can't remember such a feel good romcom in Tamil over the past few years. Tharun Bhascker Dhasssyam's "Pelli Choopulu" is a very entertaining movie that keeps you engrossed mainly with its breezy screenplay with good casual performance from the cast.  

Though the movie follows the template of the romantic comedies to the tee, the premise is fresh. Wrong address, diametrically opposite personalities, witty friends, coming of age trope, family bonding, everything is there but presented in a thoroughly entertaining manner. It is refreshing to see that the movie is bereft of moral preaching, be it the heroine boozing or the hero settling for a marriage mainly to get dowry for his business. Movie's plot revolves around two contrasting people who meet by accident, get together to do business finally getting hooked to one another.

Vijay Deverakonda as the lazy, wastrel Prasanth is casual in his acting. His scenes with his friends are a riot. Watch out for the scene in which he along with his friends try to capture a prank video. He has good comical sense. Ritu Varma takes time to grow on you, but unlike the plastic doll north Indian actresses, she seems to be talented and carries the movie on her shoulder with ample support from Vijay. Among the support cast Priyadarshi Pullikonda as Kaushik is a show stealer with his terrific comedy timing. The audience are in splits whenever he is on screen. 

Music of the movie enhances the feel good factor with mellifluous, soft  and soothing songs and background score. Vivek Sagar is the music director. Movie is technically sleek. Tharun seems to have a flair for comedy. All the comical scenes in the movie have come out wonderfully and are a important reason why the movie clicks with the audience. He is not bad with the romantic or the emotional aspects of the movie too. He is an important addition to the Telugu film industry. "Pelli Choopulu" would do for him what "Bommarillu" did for Baskar. 

On the whole, "Pelli Choopulu" is a clean and thoroughly enjoyable feel good romcom in Telugu after a long time.

Bottomline: a realistic cheerful entertainer 

4/5

Sairat

My review: Sairat

I finally watched Nagraj Manjule's critically acclaimed and the highest grosser ever in Marathi, "Sairat". I am glad that this is the first marathi movie that I watched since it is not a generic movie that could have been made in any language with its settings in the urban milieu. Nagraj Manjule, by setting the story in the milieu from which he comes from is able to diligently capture and reproduce it on screen. So far any one who is not familiar with the cultural and sociodemographic milieu of  rural Maharashtra this movie is a window of opportunity to that end. 

Though on the surface the story may sound simple that of a poor young man falling in love with a rich girl and the repercussions of it, the movie is much more than that. For the starters this movie must be the only one so far as far my knowledge that does a role reversal of sorts with the female lead playing the protagonist with the male lead giving her ample support. It is the strong willed Archie (Rinku Rajguru) who calls the shots in their relationship, who saves her beloved from the hands of the goons by wielding a gun, who directs submissive Parshya (Akash Thosar) into eloping with her, who drives the bike with her husband carrying the baby in the pillion. 

In my view, though it authentically represents the caste differences, the repercussions of inter-caste marriage, the sociocultural fallout of such a digression in a closed village type of setting, the movie is more an ode to all those strong willed educated girls from the rural India who have become more assertive and strong and their struggle with the patriarchal society which seeks to protect the social order from any skews as a result of their actions.  

Coming back to "Sairat" as an entertaining movie, I just loved the colour, levity, and life the movie has in it's first half. Back by a wonder background score and lovely songs, the first half which is more than one and half hours just breezes through. It is a celebration of the naive rural lifestyle, the fun, the love and the banters. On the other hand, the second half is more sombre, mostly shot in the dark or with natural light, there are no songs, yet keeps you engaged. Nagraj is terrific in the manner in which he is able to communicate the emotions and feelings of the lead pair and evoke the same in the viewers. It is just sheer brilliance and not everyone's cup of tea. 

One of the main reasons as to why "Sairat" has become such a phenomenon is the movie's lead actor, Rinku Rajguru. What an expressive actress for a change, who is earthy, imperfect, innocent and no frills attached. She carries the movie on her shoulders. From a naive yet strong, almost tomboyish teenager to a lover who struggles to cope with the aftermath of elopement to an unfamiliar city where getting a space to rest is a big task to an ambivalent girl who is torn between love and family to a mature married mother, the effortless ease with which Rinku is able to get into the teeth of each stages of her character is just astounding. It is quite difficult to shed off Archie from your mind long after you have watched the movie. 

Akash Thosar is a perfect foil for a fiery Rinku. As a submissive yet pining Parshya, Akash is good. Among the support cast it is Tanaji Galgunde who steals the show in the first half as physically disabled Balya. Be it in the lighter scenes or the emotional ones, he is just so natural. Watch out for the scene in which he thinks he has got a love letter from his girl and what it finally ends up as and the amazing transformation in the body language, facial expressions and emotions he is able to bring about. It is one of the best scenes written for a supporting actor in a long time. All others in the support cast have lived their roles. 

Apart from Rinku, another reason why you would enjoy the movie is its music. Both the background score and the songs are composed by Ajay-Atul. The sound of music in this movie reminds me of Ilayaraja from his hey days and are a definite reasons for the movie being this successful. All the songs are enjoyable and are beautifully picturized. 

Nagraj Manjule's casting, screenplay and direction needs special mention. His grasp of the rural milieu of Maharastra is astounding and its reflects on screen. Also he seems to have a knack for entertainment while underlining the societal responsibilities and concerns in a movie. It is to his credit that "Sairat" has become one of those rare movies you end up loving it absolutely. It evokes each and every emotions in the viewer in intended to. And it is that movie which stays in your head for long after it is over. And it made me crave for multiple viewing. 

Bottomline: A thoroughly entertaining and thought provoking classic.   

4/5

Kabali

My review: Kabali

At the outset I must congratulate Pa.Ranjith for his courage and conviction in making this movie "Kabali" with Rajnikanth. At the time when even the most illustrious of directors try to play safe he has stuck to his strengths and made a movie like how he wanted it to be, not getting swayed by the star power of the lead man. It is actually a blessing in disguise that I happened to watch this movie well after the euphoria and the subsequent backlash that followed the release of this movie died down. 

The mistake the makers have done is releasing a teaser which is so much dissociative from what the movie actually is. Hence the fans who went in looking for an action thriller must have got disappointed with the gangster drama that the movie is. And it is not that this gangster drama is that bad to warrant that kind of backlash. Also the political propaganda that people were alluding to when they were listing out the negatives of this movie is as subtle as you can get in a Tamil movie. We have had movies, even the hardcore commercial mass masalas, where the political propaganda and castiest chest thumping nauseatingly overwhelming and none had any problem then. 

Coming to this movie, I am again amazed by the homework Ranjith must have done in understanding the Malaysian milieu and recreating it on screen within the framework of a commercial cinema. The historical and contemporary underpinnings with all its socio-cultural and political constructs which is usually a casualty in a Rajnikanth movie is conspicuously prudent this time. The demographics, economics and the temperamental outlook with which each and every character and scene is conceived and created on screen belie the fact that Ranjith is only two films old prior to this. It has been a while that a movie has so beautifully and accurately managed to present to the audience such an authentic portrayal of community that most of them are unfamiliar with. 

There have been criticism that the movie is slow and the screenplay is lagging. I actually found the screenplay engaging and kept me engrossed with the proceedings throughout. Each and every character made an impact, though there are numerous of them and some of them are not that well etched. But the detailing of even minor characters were amazing. Take for instance that the hyperactive and impulsive characterisation of Dinesh and most of the teenagers in the Free life foundation. Most of the teenagers who have a profile of being a school dropout, who take to drugs early and engage in gang activities and  antisocial behaviour are indeed hyperactive and impulsive. Also the early adverse life situations which are one of the important risk factors for these type of personality development are all alluded to along the narration. 

Ranjith deserves praise for casting "actor" Rajnikanth in this movie, dumping the "superstar" Rajnikath in the process. It need guts and he sure seem to have loads of them. It is refreshing to see "actor" Rajnikanth on screen after a very long hiatus. He has performed well, especially in the emotional sequences. Radhika Apte is a terrific actress whose talent is used well for the first time in a south indian movie. And equal praise needs to be reserved for the one who dubbed for her too. The scene everyone raving about when the lead pair meet after 25 years is elevated to a great deal by the dubbing artist as much as Radhika's terrific performance. The quiver in the voice while crying which in my opinion only Kamalhassan can pull off effortlessly was brought out by this person who not only deserves praise by limelight too. (Who is she ?) 

One criticism levelled about the movie is that the villain was not of the same league as that of the ones we have seen over the years in a Rajnikanth movie. But in a story that is set in the backdrop of Malaysian sociodemographic conflict involving Indians and Chinese, who else other than a Chinese could be the movie's main antagonist ? 

Movie's background score is irritating to the eardrum. Santosh Narayanan is not in good form this time. Murali's cinematography and overall technical aspects of the movie are satisfactory.

On the whole, though "Kabali" is not a movie without any glitches, it is a courageous attempt by Ranjith who has rediscovered Rajnikanth. the actor after may be couple of decades. 

Bottomline: A film by Pa.Ranjith 

3.5/5   

Velainu Vandhutta Vellaikaran

My review: Velainu Vandhutta Vellaikaran

"Velainu Vandhutta Vellaikaran" by Ezhil stars Vishnu Vishal, Soori and Nikki Galrani. I am still mystified  by the fact that this inane movie is a hit and more so it is credited to be a comedy. I didn't smile leave alone laugh for even a moment while watching this movie. It only goes to show that the threshold for laughs has come down drastically for the contemporary audience. As a result Ezhil marches on triumphantly with ordinary work. 

There are only two running gags that could be justified in people laughing, one that involving Soori and his botched up marriage and the other one involving Robo Sankar's compulsive repetitive narration. Other than this there is nothing much in the movie. Story is redundant and the screenplay directionless. Even the dialogues which are intended to be comical are all trite with overuse of alliterations.

After an impressive lineup of his, one wonders what made Vishnu to take this movie. He is all at sea in the genre which he is clearly not comfortable with. Nikki Galrani on the other hand is energetic and does justice in a poorly written role, Soori and Robo Sankar does their job well. 

Sathya's music is one of the very few positive aspects of this movie. "Kutheeti kannula" and "Pappara mittai" are ruling the FM channels. There is nothing much for him to do as far as background score is concerned. 

On the whole, "Velainu Vandhutta Vellaikaran" is yet another hackneyed so-called comedy from Ezhil.

Bottomline: Tiresome watch

1.5/5

Jackson Durai

My review: Jackson Durai

One wonders when would this never ending lineups of horror comedies come to a stop. The guys have overstretched this genre and it has gone beyond it's self life. When there is this fatigue associated with this genre has caught up comes this movie, "Jackson Durai", which again threads the same beaten to bushes path with some seasoning in the form of historical fiction thrown in.  

As you watch the movie can only shrug with disbelief that Dharani Dharan  is the same guy who gave us that wonderfully made taut thriller, "Burma". This time the screenplay is not that taut with the proceedings just moving along sluggishly. Also except the few sequences in the flashback, rest of the movie don't hold your attention that much. The comedies are all redundant and the horror cliches too much contrived to get surprised by it. 

Sibiraj has put in his earnest effort but still something is missing in him to hold a movie by himself. Karunakaran is almost like a second hero in this movie with substantial screen space. He acquaints himself well. Sathyaraj sizzles in the extended cameo. Rajendran, once again doesn't disappoint. But these talented individuals could have been used a bit more better. 

Sidarth Vipin's background score is good while none of the songs evokes any response. Movie is beautifully shot and is high on production values. The CG work is world class. Dharani Dharan has once again proven that he is a very good film maker but falters in his story telling this time.

On the whole, "Jackson Durai" is yet another cliche-ridden average horror comedy.

Bottomline: High on flavour, low in substance 

2.5/5 

Dhilluku Dhuddu

My review: Dhilluku Dhuddu

"Dhilluku Dhuddu" by the famous Vijay TV "Lollu Sabha" team with Santhanam as the protagonist and the director of that show Rambhala at the helm, is a dreary affair. What the team spoofed in their super hit show is what they have ended up doing in this banal movie. It is really funny to see the team taking themselves seriously in trying to give us a movie that is neither here nor there. The intended serious scenes brings out all the laughter while the intended comical scenes leaves you high and dry. Right from the introduction scene of Santhanam where he tries to keep his face serious and does acrobatics dance moves ala Simbu, you keep laughing at the movie. 

Only redeeming aspect is the 15 minutes or so scenes in the pre-climax portions involving Rajendran and his team of bumbling gangsters which brings the roof down. Other than this portion, only periods you laugh are when Santhanam takes himself seriously trying to emulate the heroes he spoofed to claim all the fame in his "Lollu Sabha" days, be it in the over the top action sequences or something which they try to project as romantic portions. He does dance well, but you just can't control the laughs when he does those dance moves with poker face. 

As I have mentioned earlier, other than Rajendran, every one else just irritates. The newcomer, Shanaya, neither emotes nor speaks her lines, guess what was she doing during the shooting. She can at best be classified as a glorified set property. It is sad to see talented Saurabh Sukhla reduced to  a caricature. Anandraj and Karunas try their level best to irritate the audience which they have succeeded to a large extent. 

Nothing much to rave about in this movie which looks, sounds and feel amateurish, worse than their "Lollu Sabha" shows on TV. On the whole, "Dhilluku Dhuddu" is a grave misadventure by a team which could have just stuck to their strength which is spoof, which they haven't and hence it is a torturous watch. 

Bottomline: Skip the movie, watch Rajendran's portions alone in youtube/comedy channels. 

1.5/5

Enakku Innoru Per Irukku

My review: Enakku Innoru Per Irukku

The hit team of "Darling" is back with their second movie "Enakku Innoru Per Irukku" (EIPI). Sam Anton who showed glimpse of his comical prowess in his debut seems to have perfected it in his second venture, EIPI. On the outset if you are the one who looks out for logic, political correctness and morality in cinema, then you can just avoid this movie because it has none. It is a comical-gangster story in which showcases how a haemophobic wastrel becomes the next don aka naina aka godfather of Royapuram. 

First half is non-stop laughathon. Sam has taken recourse to every genre of comedy possible be it, slapstick, farce, parody, satire, blue, word play or even dark comedy to keep the audience in splits. The sequence which satires the "super singer" audition, the spoof of many gangster movies, the intelligent use of famous punchlines in comical of situations, the whole bride seeking sequence are few examples of wonderfully written and staged stretches that evokes laughter to the extent that it hurts your tummy.

On the other hand, the second half fails to emulate its predecessor as the movie takes a dichotomous route with the serious portions taking over and the comical portions not that impressive. As the mood is set so light in the first half and the continues in that  vein in the second too, the serious portions fails to create any impact, Even the what could have been wonderful mass transformation moments in the second half towards the climax seem less impactful and play out like episodes from "Lollu Sabha". But in the end, you don't come of the theatre unsatisfied. Movie entertains and people who crave for it would be satisfied. 

There is a tremendous improvement in the overall development of G.V. Prakashkumar as an actor. He emotes well, dialogue delivery has improved by leaps and bounds and tries his hand at dancing too well. Ananthi is good in the limited portions that she gets to perform. Yogi Babu is the show stealer among the support cast which has lots of promising names in it. His physique, dialogue delivery and timing harmoniously lends a stupendous hand to the effectiveness of his effort in evoking laughter, which he does in tonnes. This movie is sure going to be a game changer in Babu's career. Another promising actor who evokes notice is Vijay Varadharaj, a youtube sensation with "Temple monkeys". His effortless miming comedy is another asset to the movie. Saravanan, V.T.V. Ganesh, Rajendran (who is fast emerging as one of the most sought  after comedian at least in terms of the theatre response ), Nirosha, Karunas, Charlie, among others have given admirable support. 

The remix dependent songs and back ground score gels well with the mood of the movie and having the lead protagonist compose music for the movie helps. Technically movie looks top class with good cinematography by Krishnan Vasant, especially the special mention to the fact the most of the movie happens in the night or poorly lit atmosphere and his visuals are flawless. 

On the whole, "Enakku Innoru Per Irukku" is a light weight movie that will surely hurt your tummy laughing. 

Bottomline: Unpretentious laughathon 

3.5

Idhu Namma Aalu

My review: Idhu Namma Aalu

Pandiraj's long delayed "Idhu Namma Aalu" is definitely not a perfect movie by any means but it entertains. It is a good comeback for Silambarasan aka Simbu aka STR (or whatever his current name is !). It does have a lots of autobiographical notes as the movie deals with love life of a person who finally ties his knot with a bride sought by his father. And the pairing of Simbu with Nayanthara did arouse curiosity. Their chemistry on screen is superb this time, better than when they were seeing each other a decade back. 

The movie follows a lighter vein throughout its length and the mood is made light that even the forced serious turn that it tries to take towards the end seem to end up as unintended comedy.  Nonetheless the movie is one of the better romantic comedies in the recent times with witty oneliners. Is spite of a neat romantic portions, sizzling chemistry between the lead pair, Soori overshadows everything else by his terrific oneliners. It is one of the prime reason why this movie has done successfully well. 

Simbu is earnest in his effort while Nayanthara is ravishing. Andrea on the other hand looks jaded and throughout the movie sports a quizzical smile of that of a patient who must have got hit in her head severely.  Soori is the real hero of the movie as far as I am concerned. He rocks the show and is definitely one of his career best. Loaded with Pandiraj's witty dialogues he just brings the roof down. 

Kuralarasan has had a decent debut as music director with couple of songs like "Kaathaga"and "Kanne Un Kadhal" hum-worthy. His background score is also pretty decent. Balasubramniam has kept his frames bright and colourful in keeping with the levity of the overall proceedings. 

On the whole, "Indhu Namma Aalu" is a nostalgic trip down the memory lane for all those who must have got married arranged by the family harping particularly to those days between engagement and marriage, an arranged roamnce kind of situation. 

Bottomline: A lively romcom with awesome Soori oneliners.

3.5/5

Godhi Banna Sadharana Mykattu

My review: Godhi Banna Sadharana Mykattu

"Godhi Banna Sadharana Mykattu" (GBSM) is a yet another one of those promising lineup of impressive movies that Kannada cinema is witnessing over the past few months, following "U turn" and "Thithi". And it again reinforces the fact that if Rakshit Shetty associated with a movie then it is bound to be mighty good. It is a scintillating debut for Hemanth Rao, who belies the fact that he is a greenhorn with his masterful command over the medium of cinema. A wonderfully written and terrifically made movie, GBSM leaves you awestruck with the manner in which Hemanth has carved a such a non-linear movie so seamlessly. 

It is refreshing to see a kannada movie dealing so sensitively and scientifically with Alzheimer's. And how Hemanth Rao has weaved a story that is full of thrills and suspense with a missing person with Alzheimer's as its fulcrum is just terrific. Movie takes its own sweet little time to get on the track but once it happens what follows is an engrossing tale that has many strands that gets tied together and each knot getting unraveling as the movie progresses. It is yet another wonderful attempt at the hyperlink format of screenplay in Indian cinema.

Since it follows a hyperlink narrative, it have many strands with each character clearly etched and well rounded. The central character of the one with " godhi banna sadharana mykattu, Venkoba Rao played by Anant Nag is one of his memorable roles so far. He is just fantastic as a person suffering from Alzheimer's with blissful unawareness of the dangerous situation he has gotten into. He has lots of memorable scenes in the movie, the one about black dog and white dog is my favorite. Without him it would have been nearly impossible for the movie to have been made. And it would be a very difficult job for any one to reprise this role if and when the movie gets remade in any other language.   

Rakshit Shetty as his callous son who rediscovers himself and his father while he goes in frantic search of him is again tremendous. The gamut of emotions he brings out effortlessly on screen needs to be savored on screen. Shruthi Hariharan, as the doctor who takes care of Venkob and who assists in his search is impressive. Achyuth Kumar is fast developing into one of the  best supporting actor in Kannada. Here again he vindicates it. Vasishta Sinha gets a meaty role as a gangster with conscience and Ravikiran as his assistant Manja whose indiscretions lead them into trouble are both good.

Movie is technically sleek with able support from Charan Raj, the music director who has given some lilting melodies, and Nanda Kishore, the cinematographer who has come out with some good frames.

On the whole, GBSM is one of the finest debut works in the recent years.

Bottomline: A magnificent movie.

4/5

  

Manithan

My review: Manithan

"Manithan"is a remake of "Jolly LLB", a hindi movie that was a sleeper hit in 2013. The tamil remake stars Udhayanidhi Stalin in the titular role and Prakashraj as the antagonist. Movie directed by I.Ahmed. There is a visible improvement in his narration and direction this time which was suspect in his previous two movies. Though it is a faithful remake with some additions with respect to the female lead's portions, Ahmed come out with a gripping movie. This is by far his best work yet.

The coming of age stories are not that new to tamil cinema. The story of "Manithan" is simple, movie is told in a linear easy narrative style yet it strikes a chord or two with the audience. It is one of the well written and well made movies in the recent times and a perfect launch vehicle for Udhay away from his tedious rom-coms so far. Dialogues play a very important role in creating the impact the movie does create and the credit for it should goes to Ajayan Bala. 

Udhayanidhi Stalin is good in his role of Sakthivel, a fumbling young lawyer who decides to take on the mighty. This is by far his best though he has a long way to go before he can take claim of being a reliable actor. Prakashraj is terrific while Radharavi is stupendous in a role only he could have done with such panache. Hanshika Motwani looks awfully out of place from the milieu in which the movie is set. On the other hand, Aishwarya Rajesh has a better role. Vivek is reliable as ever. 

In Santosh Narayanan's music all the songs are good while background score elevates the narration to a great extent. Madhi's cinematography gives the movie a glossy feel. 

On the whole, "Manithan" is one of the better written and well made movies in recent times tough it is a remake. 

Bottomline: Nalla manithan

3.5/5  

U Turn

My review: U Turn

Pawan Kumar's "U Turn" after his pathbreaking "Lucia" had a lot riding on it which further got accentuated by the curiosity enhancing promos and teasers. This time he tries to deal with a topical issue of traffic violation and the consequences it would lead to.

Movie is terrific as far its making is concerned as well as its staging. Like he effortlessly did in his previous two movies the narration takes a while to set its pace but gradually it does sucks you into it. After the initial lull you end up getting engrossed to the proceedings. The first half is terrific with the plot neatly staged and the twists and turns neatly packaged. At the halfway mark you leave for the intermission with anticipation of what is going to happen in the second half.

I think upto 50 % of the second half Pawan Kumar in his terrific form has done such a flawless and meticulous narrative filled with mystery and intrigue that it back fires him when he takes a recourse to horror trope not able to find a suitable salvation to the mystery he has built all the while. Once the horror turn happens, there is a "U turn" in the narration and movie nosedives towards ordinary. You end up feeling cheated all the while and in the end you come out of theatre with mixed feelings. What could have been another masterclass from the auteur, the movie ends up just about okayish.

Movie solely belongs to Shraddha Srinath, the fulcrum around whom the whole movie revolves. She is just terrific. The gamut of emotions that the character goes through is brought out neatly by her. She is ably supported by all in the support cast. Special mention should be made on Roger Narayanan as sub-inspector Nayak.

Technically the movie is top-notch. All the three cinematographers and the music director have done their jobs with perfection to make it a visual and aural treat.

On the whole, "U turn" starts of well, builds up momentum and reaches a crescendo by the three quarters of its length following which there is a steep fall that brings down the movie from the exalted position it ought to have reached to somewhere near the ordinary.

Bottmline: Faltering climax undermines a wonderful cinema

3/5

Iraivi

My review: Iraivi

Karthik Subburaj after his two previously immensely impressive works falters with his self-confessed ode to K.Balachander, Balu Mahendra and Sujatha, "Iraivi". In my opinion Karthik Subburaj's noble intention in doing a movie that deals with the travails and tribulations of women gets diluted and the message gets lost due to the focusless screenplay and unintended glorification of the errant men.

 I don't know where he went wrong exactly but the wrong message seems to have gone into the viewers which is elucidated from the fact that when S.J.Suryah tells "AAn" the crowd goes into raptures while when it is followed by "kevalamana piravigal illa naama" with dead silence. Also the glorification of the male lead leads to even when he shuns the worried father of his wife, people clap and whistle, which is shocking. I think movies such as these are more dangerous than the routine masala crap which objectifies women as no one takes them seriously. 

You know something is wrong when you don't feel for any of the characters in the movie. Be it the hardships undergone by both Ponni and Yazhini, or the final tragedies that befall Arul and Michael, the movie didn't move me emotionally. Some may say it is subtle film making at its best but i doesn't mean that you fail to connect emotionally with the audience. 

When you look at it as a cinema, the making and execution of the shots are all great. Acting is terrific, led by S.J.Suryah in a once in a lifetime performance that might surely get him an award or two, ever reliable Vijay Sethupathi, and brilliant understated work by both the lead ladies, Kamalini Mukherjee and Anjali. The making is first class, technically movie is awesome backed up by brilliant musical score by Santosh Narayanan. 

On the whole, "Iraivi" in my humble opinion didn't made me angry or sad or happy when it ought to, a well made movie which fails to communicate what it wanted to. 

Bottomline: Less about Iravi, more about Sathaan.

2.5/5