Sarabham

My review: Sarabham

C.V. Kumar's Thirukumaran entertainment is fast building a reputation for itself as a brand that is reliable, off-center and avant-garde as far as its products are concerned. It has come to a point that if they are involved with a movie then that one is bound to be good and a safe bet for your money. In this background comes their latest release "Sarabham"quizzically with subdued promotions for which the company is known for. Yet another talented youngster is being introduced by Kumar with this movie, Arun Kumar. 

A "Con movie" in its real sense unlike the imposters that we have seen in the recent past, "Sarabham" has one of the neatly written suspense thriller screenplay of the year so far. If anyone could have guessed the story right then he must be one of those ultra smart persons with sky high IQ. Such is the unpredictability of the screenplay that there are twists and turns that keeps you engrossed without a moment of laxity. The pace that the director has stuck with is just about perfect for the story to be told.

SPOILER ALERT : It is just refreshing to see how the youngster has sculpted the female protagonist's role (who actually ends up being the lead protagonist with everyone else playing second fiddle) , giving it so much prominence, shades and a rounded arc. In the days when female leads are used (or rather misused)  just as the eye-candy of the male lead and off course the frontbenchers, it needs guts and vision for Arun to write such a role which is not only bold but also that has numerous shades that are well conceived. And to opt for a unknown face for the role is just about supreme confidence that he has on his script though it turns out to be a blessing in disguise for not only Salony Luthra nails the role to the T, a known face would have surely failed to do the justice to the script.

Naveen Chandra is okay in his role of the greedy architect Vikram but at many crucial sequences maintains the same quizzical expressions. He needs a lot of honing to do as far as his histrionic ability is concerned. Meanwhile Salony Luthra is just terrific in her role. She is effortless, seems to have mastery over her methods and perfectly fits the character that the writer has etched out for her. She is at ease with various shades of emotions and relaxed with her Tamil dialogues (lip sync, I meant ). With the variations in her body language and emotiveness with her expressive eloquent eyes, she is sure a promising introduction to Tamil cinema. One wonders how Tamil cinema uses her in the future. Naren gets to play a substantial role this time and he is one of those supporting actors who surprises you with the amount of improvement he shows with each of his movies. Here too he is apt and gives a brilliant performance, taking recourse to subtlety when many would have ventured into overdramatics.

In Britto Micheal's music all the songs are terrific while his background score is class apart. It is quiet surprising to know that such a new entrant to cinema has come out with such a brilliant work. His background score definitely elevates the movie to a higher level. Cinematographer Krishnan Vasanth is another strong pillar who provide for the magnificence of the end product. His lighting, especially in the interior and night scenes,  are of international standards. It is quiet an astounding feat that these youngsters are capable of getting such high quality output with the economical resources at their disposal. Technically movie is topnotch. 

On the whole, Arun Kumar is yet another promising and exciting new talent that has graced the Tamil cinema over the past couple of years. It would be a great shame if "Sarabham" goes unnoticed submerged under the deluge of better marketed and promoted movies with whom it is competing. Unmindful of the end result, "Sarabham" will be remembered as one of those perfect movies that graced the Tamil cinema, for that Arun Kumar and C.V.Kumar, take a bow. 

Bottomline: That's how you make a con movie, peepol.      

4/5      

   

Jigarthanda

My review: Jigarthanda

Karthik Subburaj has already created a sensation with his debut movie "Pizza" with his unique screenplay and novel approach to its making. Riding on truck load of expectation arrives his second feature film "Jigarthanda" after a delay of a week. With this he reaffirms the fact that "Pizza" is not a flash in the pan endeavor and he is here to stay for a very long haul. He seems to be a  master in pulling the rug from under your feet going by his two movies so far. Unpredictability, novelty and euphoria which goes along with it seems to be the USP of his writing. "Jigarthanda" is yet another fine example of what these exciting line up of young filmmakers are capable of.

When one initially saw the promos of the movie, one can't but help lament, "Oh no! not another gangster story !". We have seen it all in the past decade or so which has been dotted with gangster movies of all types and variations. Yet it needs guts on the part of Karthik to take up a gangster subject and still make the audience go gaga all over it. The unpredictability of the screenplay is once again in the forefront, main reason for the movie to click with the audience. Like none of us would have anticipated how different can a horror movie be made in "Pizza", this time around too it is practically impossible to have anticipated such a new dimension of a gangster flick (though a musical is a bit little farfetched).

Karthik somehow manages to keep his screenplay razor sharp and swift not allowing the viewers to think about the logic and reasoning. Even before your cognition could take over the proceeding the next one starts which you end up savouring than devouring it. Though the first half is part humorous and part thriller, like he has shown that he is not a fan of sticking on to a genre and have penchant for cross-crossing between the genres, movie turns full-blown comedy riot in the second half. Though along with it the seriousness of the proceeding get watered down and movie fails to create any awe in the second half.

Simha is the power-packed performer of the movie, overshadowing everyone else in the cast, including Siddarth. Waiting all along in the fringes it is time an actor as talented as he is, getting all the limelight. He exudes mastery over the craft in a role which is part mysterious, part evil and part gullible. Siddarth fits in as a perfect foil playing the second fiddle for Simha, but he is good in his part. Lakshmi Menon has nothing much to do in a miniscule role. Karunakaran seems to be in terrific form these days. After a gala time in "Yamirukka Bayamey", he enthralls the audience once again with his unique face and expression (or the lack of it) and witty dialogue delivery. Vijay Sethupathi, whose presence has been kept under wrap all these days surprises with a brief cameo.

Santhosh Narayanan is fast becoming a master musician and his proficiency is evident in both songs as well as the background score. In this movie, more than his songs, he is terrific in his background score. Songs too are not the routine stuff, they too cut across the genres and patterns.

Movie is technically brilliant. Gavemic U Ary is the cinematographer who has done brilliant job with his lighting and shots. Movie gives you a feel of watching an international movie as far as the making and technical side is concerned.

On the whole, though "Jigarthanda" has terrific screenplay and making but somehow I feel that it is couple of notches below "Pizza"missing its wow factor and goosebumps.

Bottomline: Cools your heart indeed.

3.5/5

Thirumanam Ennum Nikkah

My review: Thirumanam Ennum Nikkah

Debutant Anees comes across as a youngster with potential but his ability to translate all of it on to the screen is found wanting in his debut movie "Thirumanam Ennum Nikkah" (TEN). Movie opens into a promising premise that has potential for a riveting romantic comedy. And the promise is somewhat fulfilled in the first half with quiet a few moments of cute romance and witty comedy. But as the movie progresses into the second half the problem starts with the writer-director trying into chew more than he could handle. 

Unnecessary sermonizing trying to appease the two religious groups he has focused on in the story and tedious espousing of their rituals make up for a dreary viewing. And just as the audience gear up for the finale thinking every knot is untied and movie has come to it's logical conclusion Anees comes out with  a boring protraction that does more harm than good to the final analysis of the movie. The inability to show restrain as and when it needs to be shown is more to do with inexperience than anything else. 

Anees should well learn from this and we only can expect a far better product from him next time, he seems to be having it in him.Movie is not a total wash out. There are scenes which are interesting, novel and at times quiet intelligent too like when the lead pair try to serve Biriyani for each other and how it all ends. Dialogues are also witty at times and dreary at times. 

Jai is getting no where with his roles and inability to improve upon his limited skills as an actor. It is quiet shocking to see an actor who is 13 films old is still all at sea in the histrionic as well as in other skills like dance and monotonicity of his dialogue delivery. Nazriya Nazim looks younger(!), cute and comfortably overtakes her lackadaisical co-star. Rest in the cast play a heady mixture of interesting new characters and beaten-to-bushes cliched ones. 

The main USP of the movie is its music album by Ghibran. It is one of the most refreshing albums in the recent times with "Kannukul pothivaipen" leading the charts. "Enthara enthara" and "Chillendra chillendra" are the other fine songs from the talented youngster. Movie's production values are pretty average with tacky making by a lackluster technical team comprising of Loganathan, the cinematographer and Kasi Vishwanathan, the editor, giving it a b-grade feel. 

On the whole, Anees has frittered away a potential engrossing plot as he digress from the first to the second half, along the way showcasing his talent here and there.

Bottomline: An average and tacky wedding. 

2.5/5

Vikramadithyan

My review: Vikramadithyan

Lal Jose known for his feel good family entertainers is at it again with his latest release "Vikramadhithyan". Taking up a simple story weaving an interesting screenplay with some twists and turns with lots of emphasis on the human values and feel-goodness is Lal Jose's forte. "Vikramadithyan" is yet another venture in that vein that has a simple story told tastefully in an interesting manner leaving the audience cheerful in the end. He joins hands with Iqbal Kuttipuram after the immensely satisfying "Diamond Necklace". 

It is a potpourri of family sentiment, friendship, romance, bromance, jealousy, coming-of-age, and mass elements mixed delectably with such precision and taste. Hence it is a perfect recipe for a lazy afternoon family get-together. Time and again Jose is proving that simplicity is the most endearing thing not only in life but also in cinema that can evoke awe and interest as well as fascination when presented honestly. There is not even a single scene which one can call as over the top. Subtlety is the movie's USP which transcend every aspect of the making. 

Dulquer Salman is finally out of his comfort zone and plays the role of rustic and errant Adhithya with gay-abandon. It is such a refreshing change to see Dulquer in such a breezy and mass role. He carries the movie in his shoulders and has done it with aplomb. Unni Mukundan as suave yet kindhearted Vikram is also good. Though not fully out of his comfort zone he is getting better. Namitha Pramod is adorable in her role of Deepika Pai who make up the lead trio. Anoop Menon is terrific espousing villainy in the most subtle manner possible. Lena and others in the support cast have also done their parts well. Nivin Pauly enthralls in a terrific cameo towards the end. 

Bijibal's songs and background score are apt for the situation in  which they appear while Jomon T. John's cinematography is brilliant. Movie has a lot of wonderful visuals which are vibrant and rich in color. 

On the whole, "Vikramadithyan" is a simple movie with subtle performances that elevate it to a thoroughly enjoyable sphere for the entire family.  

Bottomline: Hard work pays.  

3.5/5

Sathuranga Vettai

My review: Sathuranga Vettai

"Sathuranga Vettai" written and directed by debutant H.Vinoth with self-proclamation by the makers themselves that it is "an indianized con movie", one wonders whether such a genre existed in the first place. The movie is certainly not a bad film, but neither it is a path-breaking effort as many proclaim it to be. As a director Vinoth is self-assured and has done his part with aplomb. There is hardly any glitch as far as direction is concerned. But as a writer he is both terrific and annoying. 

Screenplay is so good, movie flows lucidly from one episode to another without any undue detours or speed-breakers (except for couple of poorly placed songs). So as a script-writer Vinoth comes out unscathed. Where he falters is as a dialogue writer. He clearly overdoes things. In his over-zealousness he tries to make the actors mouth all that he wants to convey endlessly. which though sugar-coated, gets a bit preachy. Also his over-reliance on dialogue oriented drama rather than to convey part of his story visually gets into one's nerves. It is as if watching a dialogue driven  stage drama of the yore than a feature film. There is unnecessary emphasis on explaining each and every thing to the audience. Also many of his dialogues look artificial, as if a tasteless benign translation of certain English concepts or anecdotes.  

Natraj is good as the antagonist/protagonist which ever way you see it. He has always been easy on the camera be it cinematography or acting. His forte is casual acting and dialogue delivery. He continues in that vein this time too. The support cast made of largely unknown faces have done terrific job. Ishara is pretty okay in a minuscule heroine role.

Sean Rolden's songs are not that endearing to hear but he has done a great job in his background score. It is one of the pillars of strength for the movie. The making is tacky at times, more a function of budget than the talent of the technical team I think, K.G.Venkatesh is the cinematographer.

On the whole, it is a decent attempt attempt by the debutant, his ideals are good but his execution is what which needs more sharpening.  

Bottonline: Chatterbox 

3/5

  

Velaiyilla Pattathari

My review: Velaiyilla Pattathari

Cinematographer Velraj makes his directorial debut with Dhanush's 25th film, "Velaiyilla Pattathari" (VIP). At the outset it looks like an perfect amalgamation of scenes from movies that Dhanush himself has done in the past. And at times one can't but help the feeling that if Selvarghavan made an out and out mass commercial masala movie it will be something close to what VIP is. When there has been dearth of movie of this genre in the recent past, VIP with it's razor sharp screenplay and brilliant portrayal by actors concerned makes up for a pretty decent watch. 

Though the movie follows a predictable path with many beaten to bushes scenarios, there are quiet a few fresh scenes as well especially in the family context and the hero-heroine parts . The casualness and simplicity of the narrative elevates what would have been a pretty mundane tale. Especially the effortlessness with which both  the director and the actor Dhanush have approached the mass masala scenes make it enjoyable instead of one indulging in nitpicking. And that is precisely the reason why one even enjoys the dozen punch dialogues the protagonist mouths (to add, they are not the banal inanities a Perarasu hero mouths but loaded with wit and meaning ). When was the last time when we had  a mass masala movie without a duet or a item song or a separate comedy track with a leading comedian.  

In the short span of 25 films we have seen the numerous varieties that Dhanush can dish out. So what if he gives us a sample of all these in a single movie. VIP has Dhanush having a field day, unrestricted and fully evocative. The apathetic Dhanush one saw in "Nayyandi" seems to have transformed into a bundle of artistic energy for the better.  Amala Paul plays a perfect foil. As always assured of her own abilities, she looks gorgeous this time around. Saranya Ponvannan, in yet another typecast mother role, dishes out nothing novel. Samuthirakani is dignified in his portrayal of Dhanush's father, while Surabhi, Vivek, Amitash provide good support.

Music is already a hit even before the movie has released. But Anirudh is getting predictable be it in his tunes or his background score. But one can't deny the fact the his background score is definitely a value addition for the movie.  

It is a pretty decent debut for Velraj. His dialogues are powerful, witty and thoughtful all the same. His frames as the cinematographer is as good as ever. On the whole, he makes a perfect recipe made up of ingredients from the days immemorial. For the hero-worshiping Tamil cinema audience who have been starving for such an offering since a long time, it is a perfect dish to savor.  

Bottomline: Will surely be one of the VIP films of the year. 

3.5/5

The Fault in Our Stars

My review: The Fault in Our Stars

"The Fault in Our Stars" (TFIOS) is a heart-warming romantic drama that comes with a fresh perspective. Unlike movies that deal with romance between terminally ill patients in a cliched manner, TFIOS is more real and relatable, more subtler and refined. Based on the John Green's 2012 best seller of the same name, movie is directed by Josh Boone with screenplay adapted by  Scott Neustadter and Michael H Weber. Shailene Woodley and Ansel Elgort play the titular roles. 

TFIOS is populated with people who are real, who go through real emotions, have real vulnerabilities and draw strength from the graveity of their lives, it's bitterness and disappointments. Hazel Grace is an adorable teenager who yearns for a life that any teenager of her age wants in spite of her debilitating illness. Her aspirations are so real and when she gets one she goes through the ups and downs like everyone without any undue understatements of sympathy in view of her illness. She years for company, tries her hands on silly childish prank when the situation arises, and can get intellectual too. She is such a rounded character that eny teenager can relate to.

 And she doesn't have parents who constantly sympathizing with her or trying to make her live her life. They step back when the situation warrants and leave her live her life the way she wants to. Her mother politely brings to her notice the unaffordability of the family in fulfilling her wish of visiting Amsterdam due to her mounting medical bills, though she herself tries her best to mask her dolefulness. And when the situation arise when the finance part is taken care of she fights her best to make it sure that the trip happens in spite of the reservations that the doctors express. 

 Augustus Waters is not your carefree, devil-may-care teen. Though he is introduced to us as some one who is flashy, carefree and charming, he too has a breaking point and reacts the way he ought to when he gets to know of his relapse. And the most endearing of all the characters, Isaac, who is funny but at the same time evokes your sympathy. The scene when the trio go to bombard Issac's ex-girlfriend's house with eggs is  a riot. And thankfully other than that eulogy scene, there is not much of a melodrama. 

William Dafoe has a terrific cameo as the alcoholic and almost hysterical Peter van Houten. The manner with which he confronts the duo when they come to meet him and ridicule their illness is not sullied down by a justification in the end. He ought to behaved in the manner he did after his personal tragedy but he is never brought to apologize for that behaviour. The end has a poetic tough to it and the eulogy that Gus delivers to Hazel and the messenger is a pleasant surprise. What could have been a tearful ending is beautifully camouflaged into a heart-warming one. 

One the whole, "The Fault in Our Stars" is a movie that is touchy at times, up-lifting at others, but largely soul-stirring. And the makers have been able to elicit all this in such a simple manner is testimony to their brilliance, the quality of the writing and the talent of the actors. 

Bottomline:  a well-rounded romantic drama. 

3.5/5