Interstellar to O Kadhal Kanmani - One-line reviews

Interstellar to O Kadhal Kanmani - One-line reviews

Interstellar: 

As a person with average intelligence, I can't understand what were they trying to depict in "Interstellar". At the same time surprised at many others who seems to have understood what was going on. Was it a special show for Physics buff i went to.... Found it hard to control my sleep ‪#‎Interstellar‬.

Linga:

It would have been an honorable retirement if he had retired after "Enthiran". Now it is totally embarrassing seeing him play a guy of mid 20's prancing around heroines younger than his daughters and doing stunts that are the precise reasons why people mock at him.

On the whole, "LINGAA" rombaa LONGAAA

2/5

Anegan:

Anegan is just about average. Terrific idea very simplistically told.

Tamilukku en1ai Aluthavum :

Tamilukku en1ai Aluthavum is very entertaining. Hyperlink format screenplay very neatly presented. If only they could have made it a bit shorter and crispier it would have become a sleeper hit.

Kakkisattai : 

Kakkisattai : boring wannabe star vehicle that never takes off constantly pulled down by a very convenient and lax - lazy screenplay.

Enakkul Oruvan:

Enakkul Oruvan, a half hearted and half baked remake of Lucia. When it comes to remakes and retaining the flavour, tenor and tone of the original, there is no one who comes anywhere near to Jayam Raja.

Rajathanthiram :

Rajathanthiram is a very good and engaging heist movie that deserves better promotion and bigger box office returns.

Valiyavan:

Valiyavan has one of the silliest reasons for revenge that the audience were laughing out loud when the director intended touching sentiment sequences.

O Kadhal Kanmani:

In my 1st decade mouna ragam, 2nd alaipayuthey, 3rd ‪#‎OKKanmani‬. Manirathnam redefining romance over the decades

O Kadhal Kanmani

My review: O Kadhal Kanmani

Mani Ratnam, a man not shy of courting controversy by dealing with subjects that are considered contentious in the Indian society is at it again with his latest movie, "O Kadhal Kanmani" (OKK). The movie touted as a modern day romance deals with a subject which is almost a taboo in the current India especially post May, 2014, "live-in relationship". I am quiet surprised at the lack of noise by the saffron brigade who seem to be busy protecting the relevance of yellow sacred thread that sanctifies marriage, "Thaali" in the streets of Vepery, Chennai.  

Politics aside, OKK is a movie that offers a glimpse of what Mani is capable of to the current generation whose understanding of the auteur stems from the half-backed movies like "Raavanan" and "Kadal". For the others it is a throwback to the days of "Alaipayuthey" and "Mouna Ragam", two movie which are milestones when one think about modern-urban romance. Movie feels fresh, unpretentious, and to the point without undue digressing, even the routine Mani Ratnam's artistically picturized duet is missing here. All we have here are few montages with the background songs that carry the story forward. 

The auteur in Mani rears his head in the form of economical use of spoken words, liberal use of montages, signature lighting with maximal use of darkness (though OKK is surely the most colourful  of Mani Ratnam movies with the liberal use of bright colours), fetish for locomotives be it trains, buses, jeeps, bikes. At the same time in spite of his usual trappings, movie looks and feels contemporary. The light-hearted manner of handling the even most trickiest of situations which the young crop of directors are becoming adept with has also rubbed onto Mani Ratnam. Here we have Bhavani, (terrific Leela Samson) wife of the lead pair's landlord who suffer from Alzheimer's coming out with her innocent retorts which leaves the audience in splits. 

Mani has kept a lively pace in the first half. Movie just breezes past you, but it does get tend to meander a little in the second half towards the end before finally picking up moment in the climatic portions. Dulquer Salman is just adorable as the protagonist Adi who like all the Mani Ratnam heroes of the past enthrall the female audience. His Tamil diction is one of the best from a non-native actor, especially from the god's own country, bereft of any accent. But the movie is wholly Nitya Menen's. Without someone like her, the character of Thara would have become undone. It is she who lights up the screen and it would be difficult for any one take one's eye out of her, in spite of terrific performances all around. Like I had mentioned earlier, Leela Samson is just terrific. Credit should also goes to the writer who has conceived this character without the usual melodrama associated with it. Prakash Raj is as usual reliable in his portrayal. 

Movie gets its strength from one of A.R.Rahman's best background score in recent years. The background score is just top notch that is of international class. Songs are chart-busters. P.C.Sriram's cinematography exudes the youthful exuberance of the overall superstructure of the movie. 

I thought Mani Ratnam has just compromised a bit in the end with his conforming climax. Why could a couple can't be in love irrespective of the distance and time without marring ? Why is that it is only  marriage that offers security for a long distance relationship ?  Nonetheless he deserves plaudits for bringing such an issue into the mainstream. 

Overall, "O Kadhal Kanmani" may not be as deep or layered as Mani Ratnam's earlier movies, but certainly it is one of the most entertaining of his. 

Bottomline: Hip and happy

3.5/5

Iyobinte Pusthakam

My review: Iyobinte Pusthakam

Amal Neerad's "Iyobinte Pusthakam" is a visual treat. With the cinematographer and director in Amal Neerad competing with one another it is a field day for the audience to devour a period drama with ample dose of action, suspense and thrills. Aided with a solid script by  Gopan Chidamabaram, Amal has trasnformed it into epic proportions by his characteristic making, both visually and cerebrally. The intelligence of the writer is evident from the seamless confluence of the story with some of the significant historical events that happened during the period between 1900 and 1976, the timeline of the film's story. 

Though movie ambles along at a leisurely pace it does so with purpose. There is hardly any digression from the plot except two unwarranted songs in the second half. The focus with which the story is told keeps your interest glued on the screen. Towards the end the gore gets a bit over done but story of jealousy, deceit, revenge and infidelity warrants it nonetheless. 

Lal is the fulcrum around whom the whole movie travels and he has lived the character of Job aka Iyob with perfection. The various shades of his character as it evolves from a slave to servant to finally becoming a master himself and his eventual decline and demise are wonderfully brought on the screen by the veteran. Fahad Fazal as Iyob's youngest son does a terrific job himself with his understated histrionics in contrast with that of his elder brothers.    

Jayasuriya is a revelation in his role of a conniving businessman with his cool visage and coldblooded smile that leaves you dumbfounded. Padmapriya sizzles in a mysterious role while Isha Sharvani has nothing much to do. Both Chemban Vinod Jose and Jinu Joseph as the two elder evil sons of Iyob are terrific in their roles. Reenu Mathew, Lena, Srijith Ravi and Vinayan along with a long support cast do their parts to perfection. Overall the performance of the actors in the movie is terrific and is one of the prime reason why the movie leaves you with a lasting impression.

Neha S Nair and Yakzan Gary Pereira's musical score and background score complements the narrative vision of the writer and director. As said earlier, Amal's cinematography is one of the biggest pluses for this movie. Movie is technically one of the best ever to have come out of Malayalam film industry. Movie is fertile  with lost of memorable shots aided amply by the lush locales of Munnar and the western ghats. 

On the whole, "Iyobinte Pusthakam" is a well made movie with a clear cut narration aggrandized by terrific making. 

Bottomline:  A visual treat with some cerebral topping. 

3.5/5

Gone Girl

My review: Gone Girl

No one even in their wildest of dreams can come out with such a chilling story of a couple whose marriage is under strain. To come out with a story as brutally chilling as "Gone Girl", you must be one of those who is either twistedly intelligent or intelligently twisted. Wonder how could Gillian Flynn can come out with such a decadent tale of love, hate, revenge and misery with such lyrical undercurrent. David Fincher's screen adaptation of Flynn novel is a spine chilling thriller that entertains married couples more than anyone else, albeit with all its guilty pleasure. 

The movie warrants an inquisitive viewing to piece together the bits into a whole to make sense of  it all. Along the way loads of emotional investment happens unwittingly that may leave you drained in the end   salubriously all the same with the glee of having watched a wonderfully crafted movie. The screenplay never looses its steam, keeps you at the seat's edge all through with its numerous twists and turns. It reaffirms the fact that the twists and turns of a crooked mind is more horrific and adrenaline pumping than the fast and furious metallic actioners.   

Besides Flynn's terrific screenplay and Fincher's brilliant direction, what makes "Gone Girl" what it is is the acting from its lead, Ben Affleck and Rosamund Pike. Everyone is at awe with the power-packed performance from Pike as a borderline cum dissocial Amy Dunne who goes to the extreme extent possible for revenge. Indeed she has given her career best in the role that has shades that are oblivious to a normal psyche which she has identified and portrayed magnificently.

 But in my opinion it is Ben Affleck's portrayal of awkward Nick Dunne that takes the cake. Without his terrifically understated performance, the impact that Pike was able to make would not have happened. Towards the latter half, when his hidden layers keep unraveling one by one, the gradual transformation his character undergoes that reaches the crescendo in the interview scene and later when he gets reunited with Amy are just tremendous. 

On the whole, "Gone Girl" is a terrific thriller, a sociopathic commentary on the disintegration of the institution of  marriage in the modern times of an anomic society. 

Bottomline:  Must watch and goosebumps guaranteed.  

4/5

Poojai

My review: Poojai

If you have seen all of Hari's movies so far, then you are the only people who can endure this torture thy name, "Poojai". There is not even one scene or a shot that you have not seen so far in his movies. Right from the first frame till the last, novelty and plausibility goes for a toss. Movie follows strictly the template of hero scene, heroine scene, song sequence,villain scene, comedy scene, family scene, action sequence, then again hero scene, heroine scene...go on till the end, with the only variation is in the number of song sequences decreases and the action sequences increases as the movie progresses. And if in the end of it all if you don't get an excruciating headache, then you should get your head scanned to check whether something that is remotely related to what is known as brain is present or not.

Vishal after a brief detour into the sensible territory with his previous couple of movies has again forced himself into the nonsensical territory with "Poojai". Shruthi Hassan has come back to Tamil cinema after poor start to her career armed with the loads of "talent" she has gained by her substantial stint in the Telugu movie industry through her "legendary" performances in the movies like "Balupu" and "Race Gurram". Rest of the caricatures are given life by loads of supporting actors and actresses. A special mention to the comedy track starring Soori, Pandi and Imman Annachi, "Legen...wait for it...dary". In the movie's endeavor at excruciating headache, this "out-of-this-world-intelligent" comedy track has a king's share in it. 

Less said about the music and movie's songs, the better. Yuvan....., so sad. On the whole, the homeostasis of Tamil cinema industry seems to get restored as for every "Goli Soda", and "Thegidi", we have a "Poojai" and "Yaan".   

Bottomline: A terrible film.

1/5

Nerungi Vaa Muthamidathe

My review: Nerungi Vaa Muthamidathe

Lakshmy Ramakrishnan after her impressive debut "Aarohanam", impresses yet again with her second feature film "Nerungi Vaa Muthamidathe" (NVM). Basically a road film, the story happens on a day when the country is stifled with petrol crisis. Movie follows the protagonist Chandru and his encounter with multiple characters on his journey from Trichy to Karaikaal. The effortless ease with which Laskshmy has handled the non-linearity of the screenplay is brilliant. 

The story is simple but the tension that the writer-director so seamlessly able to infuse into the narrative keeps you engrossed. At first you tend to feel exasperated with the number of characters that we are introduced to and the pace with which things unfold. But as the narrative settles down and you get acquainted with the characters the movie gets intriguing. NVM is the kind of movie that warrants active viewing. You have be at your attentive best to piece together the happenings to get a proper sense of what is going on. 

On the down side, with the kind of build up the narrative sets itself with, towards the end the climax unfolds without any modicum of tension whatsoever, make you feel let down. The end twist could have been conceived a bit better but then that is what most mainstream commercial makers are there for. This movie is more about the intelligence of the writer and the viewer. 

Movie has many characters, yet each of them make a mark on their own. Even a passing character, each have their own arc has an impact on the viewer. A single mother who at the first glance deceives you with her appearance and behavior, a somber mobile-game playing cop who suddenly boils over when questioned about his casualness, a callous friend who slips out as soon as someone talks about police are example of how meticulously each and every characters are etched out. Shabeer is good, apt for the role. His understated performance gels well with the narrative while Pia Bajpai does her bit well too. Movie has bevy of actors in its support cast and everyone of them have done their parts well. 

Movie looks technically sound. Vinod Bharathi's cinematography is good, keeps it simple. Medley Blues' background score and the songs blend seamlessly within the narrative. On the whole, NVM is a thoroughly entertaining movie which entails an active viewing and some degree of patience.

Bottomline: A good movie.

3.5/5  

Kaththi

My review: Kaththi

The hit combo of A.R.Murugadoss and Vijay is back with "Kaththi"after their blockbuster outing last time, "Thuppakki". It is a big task to reprise the success that they had couple of Diwalis back but the duo have just managed it, if not bettered it. On the surface what might look like just another commercial mass hero movie is indeed more than that. Movie takes a topical subject that is very relevant what with successive governments competing with each other in wooing the multinational corporation to their states by converting farm lands into special economic zones. The plight of agriculture and farmers have been relegated to back pages of the dailies and don't even feature in the prime time news anymore. In this background A.R.Murugadoss' attempt to bring these burning yet overlooked issues into the realms of mainstream commercial cinema is laudable. 

Movie begins dull, with uninspiring romantic portions and non-existent comical elements. But the heartening part is that Murugadoss does with all this commercial cinema routine in the first half and hour or so and shifts his focus diligently onto the subject in hand after which barring a few transgressions no looking back. The flashback portions are very well executed with some terrific acting from Vijay. The police station scene where he roars in agony advising the villagers to lot give away farming even if he dies is one sparkling example of the histrionic skills of the charismatic star. 

The action sequence involving the coins is yet another example of the directorial acumen of Murugadoss, like the encounter scene in "Thuppakki". Brilliantly executed by the team of director, action choreographer, cinematographer and actors, that. The press meet scene towards the climax is yet another well executed scene. The dialogues which are hard-hitting and razor sharp written by Murugadoss is elevated to a higher level by the power-packed performer in Vijay. In between these memorable scenes there are quiet a few lackadaisical sequences as well. But they get submerged beneath these terrific scenes which evoke overwhelmingly emotional response from the audience. 

Murugadoss has once again reaffirmed that he is one of the best commercial movie makers in the industry who always tries to touch upon socially relevant topics in his movies. Though his inability to weave good romantic portions in his movies barring "Gajini" is quiet stark, when it comes to the commercial masala elements he is second to no one. And he is a terrific dialogue writer too which he reinstates in "Kaththi". 

Vijay is in his elements in the role of Kathiresan, fun filled commercial hero who does all that is expected by his fans. But as Jeevanantham, he is a pleasant surprise. The underplayed emotions, brooding eyes, understated body language and dialogue delivery, he is a blast. Since "Kaththi" is a one-man show that focuses solely on Vijay, others have very little to do. Samantha is more like a set-property except in the song sequences. One wonder whether Neil Nitish Mukesh is needed for that role, any one could have done it. What made him sign for that role is a mystery. Satish has very few lines to mouth and none of them are funny. The support cast largely made of elderly actors acquaints themselves well.   

Anirudh's songs are already chart-toppers but their picturisation leaves a lot to be desired. "Selfie Pulla" in Vijay's voice is the pick but "Yaar petra magano" is astutely used by the director, stays in your mind for long. Anirudh's background score is a mixed bag. Some scenes are heart-thumping, especially when he has used variations of his theme music but at many others it is quiet bland. 

George C.Williams has done a terrific job as the movie's cinematographer. Each and every frame is crstal clear and reeks of high production values. The use of different tone in the flashback scenes which enhances the mostly red colored shirt worn by the protagonist in those scenes help in conveying the underlying communist strains of the subject. That it is just his second movie is an astounding feat.

On the whole, "Kaththi" may not be as focused or as incisive as the director's past masterclass "Ramana", but when you have a superstar with the kind of mass following that cut across class, age, region (and now even states), even this is just about enough to create wonders at box-office.

Bottomline: Mostly sharp with few blunt edges.

3.5/5