Thanga Meenkal

My review: Thanga Meenkal

There was more than flashes of Ram's narcissistic tendencies in his debut movie "Kattrathu Tamil". He seems to be more than passionate bordering on obsessive and psychotic in certain issues that seems to interest him. The economic disparity is one and breaking off the societal expectations and norms is another. In his second outing, the long delayed "Thanga Meenkal" these tendencies are most prominent that it revulses you after a point. Watching the movie one gets a feeling that Ram is on a mission to tie up and gag the viewers and foist on them forcibly all that he is passionate about including the almost psychotic love that dad of his story have on his daughter. 

Though the movie is promoted as a movie on father-daughter love if one ponder over this movie after it is over one can realize that it is actually a movie on "How not to raise a child" or rather "worst parenting style that should not be tried at home". As his protagonist in "Kattradhu Tamil", here too the lead actor (played by Ram himself) seems to have bouts of anger dyscontrol with quasi-psychotic tendencies rearing above the surface now and then. He is a school drop-out, not that he is prodigy or a artistic person who comes out of the school to follow his passion. He drops out because he marries his plus2 class mate and lives his life on the shadows of his well-to-do parents. He changes jobs frequently and finally tries to settle on a job only because there he need not go at fixed time and can roam around with his daughter whenever she wants to. 

He pampers his daughter so much that he can go to extreme extents to fulfill her smallest of wishes all in the name of love that father has on his daughter. This is a sure shot path towards her becoming a spoilt brat when she grows up.Though he tries to justify that when his close kith and kin tries to instill some sense in him that his daughter would not ask him things he will not affordable to. But over-romanticization of  the father-daughter relationship results in things becoming way too artificial after a point. And at many points over-the-top "SEE, I AM ACTING" type of one your face theatrics by Ram makes you squirm in the seat.

Except Ram all other characters are sensible and practical. But a narcissist that he is he tries to paint them black. Be it Ram's wife or father or sister, everyone seems to be sensible but when Ram gets angry on them and mouth "FOR THE FRONT-BENCHERS" kind of dialogues you wish someone gives a nice kick on his back and bring him to senses or may be he must be admitted for therapy to deal with all those cognitive distortions. 

Another sore point is the manner they have portrayed the teachers and schools. Though the idea is laudable, trying to showcase how private schools are run with business motive, all those scenes are plain theatrical straight out of amateur drama stages. Especially the teachers characterization are all down right silly. That is what exactly the problem with this movie. There are quiet a few astounding scenes interspersed with quiet a few plain ordinary ones. 

One of the brilliantly written scene is when Chellamma engages in a conversation with her friend Nithyashree where she explains how intelligent she is. Especially the maths and the grandfather's reaction to smoking of her dad and uncle are outstanding moments. But when she avoids studying and performs poorly she gets into one's nerves. It is not that she is dyslexic or having some learning disability, she is plain lazy and spoilt by all the pampering she gets at home. At one point she is shown as a mature intelligent girl but at the very next moment she is shown as a dumb dimwit who believes that "Vodafone dog" is the answer for all her difficulties. 

 

Ram has done an average job as the lead actor. At many points he tries to show all his theatrical skills which gets overboard and silly at certain points. When he hears why her daughter has started stealing things and his reaction to it is a case in point. Shelly as his wife has done a better job than Ram. She is one of the few sane and sensible characters around in this movie. Except for one scene where she goes overboard when her daughter asks her about puberty where there is flashes of Ram's audacity, in all other scenes she has given a matured and restrained performance. An actress with potential and one for the future. 

Baby Sadhana is the heart and soul of this movie. If this movie works a bit it is her performance as Chellama that makes it eminently watchable. Though she too tries to "ACT" at certain places it her spontaneity at large which makes her likable. But of all the actors the one who is the most causal and spontaneous wowing the audience with her charming presence is Baby Sanjana as Chellama's friend Nithyashree. She is outstanding and way better than Sadhana and many of her elder colleagues. 

'Poo' Ramu, Rohini, Padmapriya and the one who comes as Ram's sister, are all very good. Lizzy, the card-board cartoonish Stella teacher is undone by poor writing and execution. 

Apart from the children the other aspect that is astounding about this movie is Yuvan Shankar Raja's songs and background score. "Anandha Yaazhai" and "Nathivellam" are two masterpieces from the young maestro. Background score for this movie is one of his best so far. Actually at many junctures you don't even realize that there is a background score playing behind as it becomes so integral with the narration that one hardly notices it. This is the highest point one can get with his background score.

Cinematography is outstanding. Arbhindu Saara is the cinematographer. Each frame of his is pleasing to the eyes and the use of lighting especially the night effects are brilliant. Technically the movie is all finesse. 

On the whole, "Thanga Meenkal" is for those who can get exploited easily emotionally. For the thinking lot who use rational sense in analyzing what is being shown it is an futile attempt of "How a father should not raise his daughter".

Bottomline: Inconsistent and Narcissistic attempt.

3/5

We're the Millers

My review: We're the Millers

 "We're the Millers" has a very interesting premise that has full potential for rib-tickling situations that goes unexploited  by the makers of this movie. In the end what we get to watch is an offensive, loud, formulaic, over-the-top movie, but where are the laughs..?! Touted to be a comedy "We're the Millers" is anything but it. Not even a single moment the movie makes you laugh. Only point where one gets to smile is right in the last frame of the movie which is one of the candid shots of the filming when The Rembrandts' "I'll be there for you" (from "Freinds") blare out from the music system of the RV and Jennifer Aniston's reactions to it when she is caught unawares.

The idea of four unfamiliar people from diverse background coming together to pose as a family in order to smuggle marijuana across the Mexican border so that they can escape suspicion of the authorities  is fodder for loads of comedy and fun. But lazy writing and lousy execution leaves the movie high and dry  as the result the viewers exasperated. Bob Fisher and his co-writers could have used a bit of imagination to instill levity and humour into their screenplay. Not being offensive or unabashedly stereotypical would bring in the laughs, the writer should realize.

Jason Sudeikis has done his part well, trying his might to keep it lively and going but in "Horrible Bosses" he was more successful because he was backed by a good script. Jennifer Aniston tries her level best to rekindle her "hawtness" but she looks jaded and fails to create the same kind of awe once she was known for during her television days. Emma Roberts is energetic while Will Poulter tries hard. Ed Helms somehow is totally a different actor when he is in the "Hangover" series but when it comes to his other roles he fails to recreate the same aura. Here too Ed is wasted in a poorly etched out role and he makes it worse by his banal performance.

On the technical side movie is good. Rawson Marshall Thurber could have spruced up the presentation so that the pace could have been a bit faster which might have camouflaged some of the trivialities and triteness.

"We're the Millers" is "Adult", yes, but "Comedy", a BIG NO.

Bottomline: No laughs.

2/5

Anthaka Mundu Aa Tarvatha

My review: Anthaka Mundu Aa Tarvatha

Mohan Krishna Indraganti has always made movies with substance. He is one of the few movie-makers in Telugu industry still not enamored by the loud and crass commercial movie making that is plaguing the industry. This time around with his "Anthaka Mundu Aa Tarvatha" (AMAT) he has explored the "commitment phobia" that has become rampant among current youngsters who are in love in a very beautiful manner.

Steering away from the routine glitz and glamour of the Telugu films (movie doesn't even have one "dancing around the trees" or "mindless shaking of hips in foreign locales"routine which is astounding considering this is a romantic comedy) and sticking onto reality in the inception, execution and performance, AMAT is surely going  to make the youngsters and family audience take notice. Though the movie is realistic in its content there is no shortage of entertainment. It goes to show that there are ample scope for the audience to get entertained even with routine and mundane day to day affairs if told and presented in the right manner. And Mohan has surely done it and entertained the audience and at the same time has succeeded in steering home the message he intended to deliver. 

Anil and Ananya meet by chance in a marriage and fall in love instantly. But in both their families their parents' relationship is under strain which sends seeds of doubt into their psyche about the viability of their relationship in the long run. Confronted with commitment phobia they decide to test their compatibility by having a pact of living-in for two months and go through the grind and to decide about their long term commitment thence. What they go through in that two months, the challenges, trials and tribulations and how it influences their eventual decisions is what the movie is all about. 

Mohan has written the story, screenplay and dialogues apart from directing the movie. Screenplay is as lucid as a mountain stream moving at a right pace neither too fast and soulless nor too slow and boring. He has stuck the right speed in which movies of this genre works well with the audience. Dialogues are witty and at the same time damn hilarious. 

Sumanth Ashwin as Anil and Eesha as Ananya have done their parts exceedingly well belying their inexperience. Sumanth is so casual in his portrayal and  so confident on screen. Eesha too is good in emoting various feelings and has a very expressive face which she has put to full use. The chemistry between the lead pair is sparkling. Rao Ramesh and Rohini as Anil's parents are aptly cast and have given good performances while Ravi Babu and Madhubala (of "Gentlemam" and "Roja" fame makes a comeback ) are miscast as Ananya's parents with both overacting at various occasions. 

Kalyani Konduri has given soothing music, be it songs most of which are melodious or the background score. P.G.Vinda has captured the serene beauty of Rajamundhry as well the hustle and bustle of Hyderabad city aesthetically. 

On the whole, AMAT is a must watch for all the lovers of the past, present and future. Go for it and enjoy the evening with your whole family. 

Bottomline: Clean romantic comedy with a message or two for the whole family.  

3.5/5

Desingu Raja

My review: Desingu Raja

Certain things don't change. Fourteen months back came a movie "Manam Kothi Paravai" which was " an out-dated movie with the makers themselves not sure whether it needs to be taken seriously or not. " (quotes = from my review of that movie). And when I look at it almost 90% of what I have written in that review holds good now also for Ezhil's latest misadventure "Desingu Raja". He has played in the lives of not only the actors, technicians , producer and the exhibitors but most cruel of it all is the amount of damage he has done to the psyche of the viewers who would invariably rue the two hours and 120 rupees they have wasted with this irritatingly  imbecile "so-called" movie. 

" Ezhil,it is time for you to hang your boots. You have lost all your stocks. Follow the footsteps of Vikraman , Rajakumaran & the like who have gracefully stopped torturing the audience after they realized it (“Chennai Kadhal” & ”Kadhalukaga” respectively). In these hard times with petrol rises & all , people are already furious. Why do you want to test their patience further by attempting movies like these. Confusion seems to the predominant  mood of yours when you were making this movie. Still I am not clear whether this is a comedy movie or a serious movie or a serious movie made in a comical manner...!!??" Excerpts from MKP review. (Only correction here is that Vikraman and Rajakumaran have had change of heart since then seeing at what Ezhil could unleash on the Tamil cinema viewers. Hence they have tried to do their bit at terrorizing them by "Ninaithathu Yaaro" and "Thirumathi Tamil" respectively). 

Again excerpts from the same review which suits well here too, " to the producers of the movie. I still can’t make out what made you people invest your (?hard-earned) money in such an out-dated & hackneyed script. If you people have so much of money to invest , there are numerous talent out there with fresh ideas  struggling for investors. "

One wonders what has happened to Vimal after a promising start with "Pasanga" and "Kalavani". He seem to in an inebriated state throughout going by his dialogue delivery and sleepy face throughout. He is kind of person from whom a talented director can extract wonders as seen in "Vaagai Sooda Vaa" but when not guided properly he can get to ostentatiously pathetic as seen in this movie. Same goes to Bindhu Madhavi. They are kind of actors who do well in mimicking what directors enact to them. Hence when a person like Ezhil leaves them in a lurch they would roam around in the movie like a blind goat in the dark.

For the comedy gang led by Soori and Singam Puli excerpts from MKP review holds good here too. "to Singam Puli & co. Guys comedy is not spitting out rhyming words or being stupid on screen. Already your director has written your role in a stupid manner , why do you people want to make it look more moronic by your silly acts on screen. Sorry , you people were pathetic & not even one person in the audience was laughing at your puerility".

In D.Iman's music Shreya Ghosal sung "Ammadi ammadi" is a very good number spoiled beyond repair by Ezhil's picturization.Otherwise other songs and background score is strictly average.

On the whole, "Desingu Raja" is a hardcore torture. One can't help but feel like the victims who are subjected to all those torture in the "Saw" series while watching this movie. 

Bottomline: Insult to the sense of the movie watchers.

1/5

Jobs

My review: Jobs

Joshua Michael Stern's biopic of Apple Inc.'s co-founder and CEO Steve Jobs "Jobs" has Ashton Kutcher in the lead. Written by Matt Whiteley, "Jobs" shows the erraticism, ruthlessness and narcissism of the man who never seemed to think twice about rubbing people in a wrong way or two on his road to success. It also show how ruthless is the corporate world where any moment the creator can get alienated from his product or in a larger parlance his enterprise.

But by largely focusing on only a few chosen years of his rise and fall and his eventual heroic return to the company he co-founded the makers have lost out on the struggling years as well as his personal life. Movie moves in a patchy episodic manner for suddenly certain issues are left half way only to be shown later with viewers clueless about what happened in the interim. Jobs' reconciliation with his daughter Lisa is a case in point.  By focusing largely on the corporate politics and power games movie has lost the human focus which might have made this biopic a bit more engaging. 

Ashton Kutcher has given his best performance so far (though still not in the league of the better actors if Hollywood). He gets the body language, mannerisms and persona right though at certain points his over-exaggerated gait makes it look a bit comical. He is well supported by the rest of the cast who have all done their parts to perfection. Especially Josh Gad as the other co-founder of Apple Steve Wozniak is excellent. Lukas Hass and Dermot Mulroney have meaty roles and have done well.

Technically the movie is good. Background score is good. Screenplay doesn't lag except for couple of instances in the second hour of the movie. Otherwise movie moves at a nice clip without much scope for boredom. 

With another movie on the anvil on the life of Steve Job by the Aaron Sorkin touted to be a more authentic biopic "Jobs" fails to create a sense of fulfillment at the end. Due to its patchy screenplay and lack of human touch "Jobs" is neither intellectually nor emotionally stimulating. 

On the whole, "Jobs" is better enjoyed if one looks at it as another movie on the silicon valley and its power politics rather than a biopic. But sadly everything right from the title to promotions have promised a biopic and one can't but exclude the same from one's thought process and hence it falls way short of what it promised. However accolades are due for Ashton in his career best role so far. 

Bottomline : Wait for the Aaron Sorkin's biopic on Steve Jobs instead.

2.5/5

Thalaivaa

My review: Thalaivaa

Finally the wait is over. Almost two weeks after its worldwide release "Thalaivaa" got released in Tamil Nadu today. After watching it one wonders what  that hoopla was all about. In the end the wait is worth it. "Thalaivaa" is a routine Vijay movie told in a different style, that of director Vijay's. Director Vijay has always been criticized for not being original with his scripts so far. Even here it is no different but at-least here he acknowledges the fact right at the beginning. 

Director Vijay's movie all run at a pace that is not considered desirable for a commercial movie. Yet he has reaped success with that approach and here too he applies the same. The problem with his previous movie "Thandavam" was a poor script which was not at all engaging. Even in that movie the flashback sequences were good. This time around he has ironed out that chink and has presented an engaging tale of rise of a leader with more than ample support from his lead star Vijay. Moreover who has defined rules that a commercial format movie should move at a break-neck speed. If the screenplay is engaging enough who cares about the length or the speed, except may be the impulsive, inattentive, hyperactives who can go on a course of Atamoxetine rather trying to spend time in a theater.  

"Thalaivaa" has all the ingredients of a typical Vijay movie albeit refined by the subtlety which is director Vijay's forte. It is refreshing to watch a vijay movie with lots of scope for dance without much of heavy movements. It is a delight to watch his subtle, suave and stylish dance in all the songs in the movie. Especially the movements in the "Yaar indha salai oram" is delectable to watch. It is a throwback to the "Azhagooril poothavale" days. "The Ecstasy of Dance " is another sequence which enriches the movie watching experience where a seamless confluence of brilliant orchestration, nimble footed actors who have performed  the excellently choreographed dance composition effortlessly, and exceptional visuals with intelligent use of lighting by the cinematographer. 

Vijay continues with his new found maturity and subtlety in his acting that is evident after "Sura". He has good scope to perform and he has done his job to perfection. Currently there is no one in Tamil cinema who can better him in the comical as well as the dance sequences which he reaffirms in "Thalaivaa" too. His emotive skills have become better. In couple of scenes he has done extremely well. One the pre-interval sequence right from the time he along with Sathyaraj enters the hotel room where Suresh and Amala Paul are staying. The other one is the tit-for-tat game that he plays with the Villain towards the end. Though there is enough scope for over-the-top ostentatious heroism in that sequence (which Vijay of old would have certainly attempted) he has done it in a restrained manner with tinge of sarcasm typical of him. Also his new-found proficiency in the variation in dialogue delivery and modulation is put to great use this time too.

Amala Paul has never looked this good so far. In director Vijay's movie invariably the heroine roles are strong and would have enough scope for them to perform. Here too Amala Paul has a significant role to play with at certain places she even becomes the saviour of the hero (which is again a refreshing change in a Vijay movie for not many of his contemporaries have done it in their movies in the recent past nor in previous movies of Vijay himself). She manages to match Vijay with her footwork in the dance sequences. She has dubbed in her own voice which is commendable. Her Tamil pronunciation is good without Malayalam accent like Parvathy in "Maryan". 

Sathyaraj doesn't have much to do. But he is graceful and leaves a mark. Santhanam after a long time has managed to evoke laughter. But the maximum laughs  for him is when he appears in a weird get-up in the end mouthing a serious dialogue. Abhimanyu Singh is loud and theatrical which is clearly out of keeping with the general subtlety of the movie. Ragini Nandwani is a welcome addition to Tamil cinema. She is cute and performs well too. Veterans like Nasser, Ponvannan, Suresh, Y.Gee. Mahendra, Rekha have done their parts well giving adequate support to the story. Sam Anderson sizzles with his cameo.

G.V.Prakashkumar's songs are a huge hit already. "Vanganna vanakamanna" sung by Vijay himself is foot-tapping number that is ruling the FM stations in Tamil Nadu for almost 6 weeks now. "Yaar intha salaai oram" is a beautiful melody number, a typical G.V.Prakash special while "The Ecstasy of Dance" as said already is a brilliant composition. "Tamil pasanga" could have been better with more beats and energy that would have given more scope for dance. "Thalapathy thalapathy" is a delight for Vijay fans. His background score in the first half is good, especially in the romantic portions. But in the second half the energy and the extra spunk is missing that might have elevated the "mass" scenes onto a higher plane.  

Nirav Shah's cinematography is excellent. Especially the "Ecstasy of Dance" sequence is beautifully shot by him. And his lighting in various sequences that extols the rise of the protagonist is outstanding. He once again proves that even in a commercial movie of this type there is ample scope for the cinematographer to stand out. As a result movie is technically suave and stylish. 

Written and directed by Vijay with ample inspirations from various movies of this genre from the past he surprises the audience with couple of interesting twists. Especially the pre-interval twist caught many unawares. Though largely unoriginal Vijay manages to keep the audience going with an interesting screenplay and a charismatic actor to boot. 

On the whole, "Thalaivaa" is an entertaining movie where a mass subject is presented in a classy manner. Though may not reach the heights of "Thuppakki", it is better than any other big-star commercial movie that got released this year (with the exception of "Vishwaroopam").

Bottomline: Time to (continue the) lead. 

3.5/5    

Veyyi Abaddalu

My review: Veyyi Abaddalu

Teja's wait for a hit continues with his latest movie "Veyyi Abaddalu". Touted to be a romantic comedy it is neither romantic nor comical. Teja seems to have lost his focus while writing this movie hence the screenplay meanders aimlessly before crash landing on a predictable and a lame climax. There is absolutely no emotional connect with the lead pair as their roles are written superficially. 

Comedy works in parts but as a whole makers are confused as to whether to make it a full length comedy or to instill usual doses of masala with action, sentiment and romance. In the end it doesn't do justice to anything. Wonder what has happened to this once talented writer-director Teja.

 Who in her right mind would barge into her divorced husband's house that too into his bedroom albiet with a hidden agenda. Neither the romance nor the anger of the heroine over the hero is well established. In the end the remorse that the heroine has is confusing for she has not done any wrong in separating from a lair who has conned her all the way to marriage. Chauvinism galore. 

Sairam Shankar is good as Sathya who lies his way to marriage and suffers as the consequence of it. He is good be it dancing or in the comical situations or with his dialogue delivery. Only in the sentimental scenes he looks lacking in confidence and it shows. Ester Noronha makes her debut as the lead actress. She looks ravishing but lacks emotive skills. Nagababu is a show-stealer in a comical role. If the movie has 5-6 scenes where one can laugh wholeheartedly Nagababu is there in about 4 or 5 of them.

Movie doesn't boasts of catchy songs which is usually the Teja movie's forte. Ramana Gokula is the music director and his music is routine fare. Technically also the movie is average.

On the whole, "Veyyi Abaddalu" is stale potpourri  prepared by a confused team that can be better enjoyed when it is showcased in your satellite channel shortly.

Bottomline:  Lack the punch.

2/5