Drishyam

My review: Drishyam

Following his super-hit thriller "Memories" Jeethu Joseph comes with his next movie "Drishyam", Starring Mohanlal and Meena in the lead. Defying genre, movie cuts across family drama and suspense thriller mode. Unlike usual thrillers which follow whodunnit or crime mystery mould, in "Drishyam" Jeethu focuses more on the aftermath of a crime and the psychology of the families involved on the either side. Also the interesting cat and mouse game played out with intelligence flowing on both the sides make it an engrossing watch. 

First half flows like a warm mountain stream effortlessly. Warmth, tenderness, day to day humour and family values gets detailed without much tedium in the first half. Also along the way many trivial details gets sprinkled that helps putting the pieces together in the later half. Hence though the pace is laid back the script keeps you in its leash throughout. By the intermission point the movie gets into a more serious mode with a jolt that happens just before the half way point. 

Second half is a roller-coaster ride that keeps the adrenaline pumping with the twists and turns and the surprises that get revealed all along. The success of the writing is seen the manner in which the viewers' mind get jolted every time police tries to close in on the suspects. Here almost everyone wishes that the suspects somehow manage to escape from the net thrown at them. The strength of the writer in Jeethu Joseph is in the forefront. 

Mohanlal has underplayed but the effect that it has on the viewers in humongous. It is unimaginable anyone else could have made George Kutty so endearing and at the same time getting the viewers root for him so effortlessly in the end. Credit is due to both the writer as well to the actor for making a middle-class rural family man a mass hero without any commercial trappings. Meena brings in all the experience she has garnered all these years to full use. She lives every inch the role of a naive housewife.

 Ansiba Hassan and Esther, who play the kids in the household are fantastic. They have integral parts to play in the narrative. They have enacted their roles with aplomb without losing the childishness that we often see in mainstream cinema. Kalabhavan Shajon is equally good as Sahadevan, a role with grey shades. Asha Sarath and Siddique does their parts admirably. The whole support cast have done their parts to perfection. 

Anil Johnson's background score keep up with the thrills in the second half while leave a pleasant taste in the first part. His score adds strength to the narrative succeeding in keeping the viewers engrossed. Sujith Vaassudev has captured the movie with as much simplicity required to the script as possible. Instead of taking recourse to undue gimmickry in the pursuit of showing all his wares, he has absorbed the mood of the content and captured it accordingly. Movie is technically suited to the narrative.

On the whole, "Drishyam" though released in the fag end of the year would easily be anointed  the best movie of the year by a fair margin. 

Bottomline:A fresh engrossing narrative. 

4/5

Biriyani

My review: Biriyani

"Biriyani", a Venkat Prabhu diet is in reality a Venkat Prabhu Cliche. It follows the same mould of all his previous movies. Not only the making style, picturisation, character graph, story-telling, what ever the story may be, all his movies look and feel the same. Initially it was lapped up for the novelty and freshness of it all, but off-late it is getting redundant and stale. What could have been a neat crisp action-thriller gets spoiled by all the Venkat Prabhu constants and must-haves including his brother, Premji in yet another irritatingly annoying exhibition of his histrionics and his gang of  friends. As a result the main plot gets diluted by poorly timed and placed gags and sequences which are not fun anymore.  

Otherwise "Biriyani" is one of the better movies that has Karthi in it. Though the twist in the end lacks the punch required, movie keeps you hooked to it except for those frequent comical escapades that happen throughout the narration. Karthi looks trim compared to his bloated self in "Azhagu Raja". He is in his home turf in the first half filled with fun and frolic. In the second half  he has lots of scope for action which seems to be his latest fetish. Hanshika is still to get the basics right as far as acting is concerned. She is poor in dancing too which is the only thing heroines these days excel in. 

Premji is irritating and annoying. He and his brother should ponder over why he doesn't get  any offer from movies other than his brother's. It is sad to see Nasser reduced to such buffoonery these days while refreshing to see Ramki after a long break. Mandy Takhar is sensuous and ravishing. Television stars like Uma Riaz, Prem, Badava Gopi, Tarika get noticeable roles. 

Yuvan Shankar Raja has put in his best effort after a a long time, considering it is his 100th movie. Songs are all hummable while his background score is adequate. Sakthi Saravanan's camera work is praise worthy. He along with the VFX department have succeeded in presenting the movie technically rich.

On the whole,this "Biriyani" has nothing much new to offer  just about satiates your appetite.   

Bottmline: A Venkat Prabhu cliche. 

2.5/5    

Ivan Veramathiri

My review: Ivan Veramathiri

After his impressive debut with "Engeyum Eppodhum" M.Saravanan has written and directed "Ivan Veramathiri" starring Vikram Prabhu, Ganesh Venkatraman, Vamsi Krishna and Surabhi. Saravanan who showed lots of promise in his debut seems to have changed track trying out his hand on the mass masala commercial cinema this time. At the same time the sincere filmmaker in him  also seems to be alive as a result in the end the movie has turned out to be a commercial actioner made sincerely keeping in mind the plausibility of the situations and sequences. Ironically the realism that he has tried to infuse into the narrative results in the audience getting taken aback when the movie turns too filmy towards the second half.

As his wont the romantic portions are once again presented with taste and in an interesting manner as in his first movie. The fresh pairing of Vikram Prabhu and Surabhi also further enhancing the effect. They strike a good chemistry in the movie. Also the vigilant portions and the manner in which the sequence of events ensue are told as pragmatically as possible. But it gets irksome when suddenly movie turns filmy with contrived situations. 

Vikram Prabhu seems to have lost some of his acting skills he acquired in "Kumki". At many places he is all at sea. His dancing skills are abysmal. Surabhi is pleasant to look at but she also needs a long way to go as far as acting is concerned. Ganesh overacts while Vamsi Krishna does better. 

In Satya's music "Loveulla" and "Ennai maranthaen" are good songs. His background score is mixed bag. At certain sequences it is very good while at certain others pathetic. Sakthi's cinematography is good. Technically movie is sleek.

On the whole, "Ivan Veramathiri" is an average movie where filmy characters inhabitate realistic world engaging in superhuman encounters told plausibly.

Bottomline:   Not that different.

2.5/5

Endrendum Punnagai

My review: Endrendum Punnagai

With interesting star cast, hummable songs and glossy visuals "Endrendum Punngai" promised a lot before its release. But all these positives gets spoiled by poor screenplay which fails to keep the audience in its leash. Hence due to lethargy of the screenplay where nothing much happens for long stretches it is difficult for anyone to sustain their interest. As a result in the end it becomes an arduous watch. I. Ahmad is the writer-director.

The genrelessness which is the wont of the Indian film industry in general and Tamil film industry in particular has spread its tentacles even into these type of movies which on the face of it appears to be a romantic-comedy. But like the commercial mass masala movies here too the makers get recourse to family sentiment, forced-in comedy, professional rivalry. Hence the romantic-comedy which the makers advertise the movie to be is scarce. 

Movie meanders along with no direction whatsoever in the first half. Scenes go on and on with endless chattery with almost every other scene someone bemoaning about marriage. When the intermission point promises some scope for something that might happen in the form of a story in the second half , it gets more tiring and labouring. When the movie moves into melodrama towards the end, it becomes unbearable. 

Except for the three male leads  rest of the characters are poorly etched out. Even the character of Thrisa, the lead actress is half-backed. Andrea's is purposeless while Nasser is used shoddily. Jiiva who is already on a long lean patch will continue to remain in that after this movie. May be he can put all his faith in his next movie "Yaan" to get him out of this rut he finds himself in. Trisha who has been almost non-existent for a long time gets to perform well in a poorly etched out role. Vinay who's credentials have always been under scrutiny once again fails to grab the eyeballs. Santhanam continues in his downward spiral. Sad to see Andrea restricted to such shoddy roles. 

Harris Jeyaraj has nothing new to offer. All the songs have the deja vu effect. "Kadal Naan" is the best of the album. "Vaan engum nee minna" is a typical Harris number. Madhie's cinematography makes the movie technically grand with glossy and sleek visuals. 

On the whole, "Endrendum Punnagai" fails to bring smiles on the face of the audience. It is a boring fare which needs a lots of patience and time to sit through it. 

Bottomline: Plastic smiles. 

2/5

Venkatadri Express

My review: Venkatadri Express

"Venkatadri Express" is not your routine commercial mass masala movie which get releases every Friday in Telugu. Written and directed by Merlapaka Gandhi, it is a romantic comedy spiced up with a pinch of family sentiment and action on the backdrop of travel from Hyderabad to Tirupathi. Gandhi's script is crystal clear and his narration lucid and engaging. Backed by good performances from the star cast, "Venkatadri Express" is a thoroughly enjoyable humorous ride for the whole family. 

The protagonist is the youngest son a strict retired headmaster who is at the verge of being thrown out of his house if he commits one more mistake. On this background the family leave for Tirupathi for the elder son's marriage. Protagonist somehow misses the train who happen to meet Prarthana (Rakul Preet Singh) who is also on her way to Tirupathi. The events of that night as they travel from Hyderabad to Tirupathi by various means of transport and the people whom they meet during the travel form the gist of this interesting movie that never fails to keep you in it's leash.

Sundeep Kishan is casual in his ways. He is at ease in almost all sequences be it comical, romantic, action or sentimental. Rakul Preet is cute and homely looking at the same time ravishing in the song sequence. Her role is the routine Telugu film heroine who must be bubbly and talkative and at times retarded. The support cast is made of largely lesser known actors who all have done their parts excellently. It is the excellent support cast that elevates the movie to a higher level. All of them have succeeded in evoking laughter at most places. Thagubothu Ramesh and Sapthagiri deserve special mention.

Movie is technically sleek with, Chota K.Naidu wielding the camera. Ramana Gokula's music is passable.

On the whole, "Venkatadri Express" is a fun film, enjoyable neat family entertainer that is pleasantly fresh. 

Bottomline: Delightful ride. 

3.5/5

Thira

My review: Thira

After his immensely successful "Thattathin Marayathu " Vineeth Sreenivasan's next movie "Thira" deals with a topical issue of child trafficking. Scripted by Rakesh Mantodi "Thira" has Shobhana as the protagonist along with Dhyan Sreenivasan. Backed by a strong script, excellent cinematography by Jomon T.John, brilliant background score by Shaan Rahman and power-packed performance from the experienced Shobhana, Vineeth has executed the movie with aplomb keeping the viewers at the edge of their seats for the period of two hours. 

Movie deals with the dirty nexus of child trafficking, their modus operandi and their means of going about things. Though not bereft of cinematic liberties and cliches "Thira" keeps you engaged at the same time not transgressing much from realism too much. Also the movie is multilinguistic with ample dose of Hindi, Tamil and Kannada dialogues which serves to keep up with the realism but might off put many though most these are subtitled. 

The movie moves at a brisk pace. Technically the movie is top-class. Jomon T John's visuals are right up with the best of the best. Shaan Rahman's background score and songs aptly support the narrative. At places they even elevate the impact of certain scenes. 

Shobhana rocks in the role of Dr Rohini Pranab whose quest for truth leads to her engaging herself in yet another rescue mission. With all her experience this role might not have extracted much sweat from her. It is a pleasure to watch her on screen after a while. Even at this age she looks radiant and graceful as ever. Dhyan Sreenivasan just about manages to go about playing his role of a brother in search of his sister who gets kidnapped by the traffickers right under his nose. He however needs to hone up his emotive skills. 

On the whole, "Thira" is a well made taut thriller spiced up by topnotch making.

Bottomline: Engrossing watch. 

3.5/5 

Vidiyum Munn

My review: Vidiyum Munn

"Vidiyum Munn" marks the debut of one of the most promising team of the year in Tamil cinema. Helmed by Balaji K Kumar, who has "written" ?! ( story and screenplay are blatantly ripped off from the British movie "London to Brighton" ) and directed the movie ably supported by Sivakumar Vijayan's top class cinematography and Girish Gopalakrishnan's excellent background score. The young team of technicians are wonderfully supported by the cast led by Pooja and Malavika Manikuttan, supported by talented support cast. 

Balaji K Kumar comes across as one of those movie-makers who rely on their script rather than stars for their movies. His faith in his written material is so astounding that he has made this movie with only Pooja being the known face with other small time actors and largely fresh cast making up the rest. After Mysskin and Sasikumar, both of whom exhibited excellent visual sense in their first movie itself (Chithiram Pesuthadi and Subramanyapuram respectively) Balaji K Kumar comes across as one with good visual sense. Also he seems to have his own style and way of movie making and that he has managed to present the same in his very first movie without any compromise is very difficult to emulate. 

Though the movie is a faithful remake (or will it be right to call plagiarism since I didn't see the producers rightfully to have bought the remake rights ) of "London to Brighton" Balaji K Kumar has adapted well to suit our cultural backdrop, landscapes and milieu. The writing is so powerful that not even at one moment that you feel disengaged. All through the two and half hours one is glued to the seat, fully focused on the screen wondering what would happen next and how would the two female protagonists get away from the mess that they find themselves in. When the climax twist is revealed the relief that everyone in the auditorium feels is palpable. Therein lies the victory of the writer-director.

Sivakumar Vijayan's cinematography is top-notch. Each and every frame is of high standards. Movie has its own tone and treatment. At many instances one mighty even get pleasantly surprised by the quality of the frames. Sivakumar, along with Balaji are the ones for the future and sure would go places. 

Pooja has had a dream comeback after a long gap of almost 4 years ("Naan Kadavul" being the last one). The gamut of emotions that her character goes through which Pooja has successfully internalized and then enacted results in the audience empathize with her character. Malavika Manikuttan is a revelation. The way she has portrayed her character that which is caught in between her innocent childishness and the loss of childish innocence forced by the circumstances she gets into is excellent. Though there is ample scope to overdo the same she has stuck a dream balance. Among the support cast Amarendaran as Singaram is top notch. With his body language, dialogue delivery and unique style, Amarendaran is brilliant.     

Balaji has taken up a sensitive issues of child trafficking, prostitution and  and pedophilia in the most respectable manner possible. Not even a single frame is aversive. Also there is no preaching or taking up sides or painting things or people black and white. By sticking to reality and the natural course of action that actions tends to take and occur, Balaji's "Vidiyum Munn" comes out as a whiff of fresh air. 

On the whole, "Vidiyum Munn" is excellently executed thriller with Balaji K Kumar asserting himself as another promising movie-maker who seems to believe in his script more than the stars. Movie deserves 4/5 but I go with 3.5/5 mainly due the duplication of the content. 

Bottomline: A promising movie from a promising team. 

3.5/5 

Maayai

My review: Maayai

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

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

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

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

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

Bottomline: Forgettable venture.

1.5/5

Irandam Ulagam

My review: Irandam Ulagam

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

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

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

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

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

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

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

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

Bottomline: Free association on dope. 

1.5/5 

Captain Phillips

My review: Captain Phillips

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

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

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

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

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

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

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

4/5

Philips and the Monkey Pen

My review: Philips and the Monkey Pen

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

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

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

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

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

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

Bottomline: Food for thought.  

4/5 

Pizza 2: Villa

My review: Pizza 2 : Villa

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

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

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

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

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

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

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

Bottomline: Exciting times for Tamil cinema.

3.5/5

All in All Azhagu Raja

My review: All in All Azhagu Raja

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

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

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

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

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

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

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

Bottomline: Exasperating watch. 

1/5

Pandiya Nadu

My review: Pandiya Nadu

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

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

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

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

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

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

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

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

Bottomline: The Diwali winner

3.5/5 

Gravity

My review: Gravity

Hollywood's fascination with survival stories and resilience in the face of a disaster has always kindled the interest of the viewers especially considering the fact that it is fertile ground for awesome visual imagery and special effects treat. Usually it is either doomsday or alien attack or a genetically modified monster wreaking havoc. Refreshingly here comes a disaster movie which is set in space with first class direction and acting, above all one of the best making ever as far as the technicalities are concerned. "Gravity" is one hell of a visual extravaganza that transforms you to the space where you along with the protagonists in the movie experience the ordeal having your adrenaline pumping for about two hours and taking time to recover from the aftermath of it.

"Gravity" is one of those movie which you experience rather than you just seeing it. Movie makes you anxious, claustrophobic, resigned, hopeful, expectant, hopeless, nauseous, hallucinating and finally elated. The gamut of emotions that you go through while experiencing this movie is mainly due to splendid writing (Alfonso and Jonas Cuaron), brilliant performances from Sandra Bullock and George Clooney, good direction (Alfonso Cuaron) and above all "out of the world" (literally..!) visuals and visual effects (Cinematography: Emmanuel Lubezki). 

Rarely we get to see a science-fiction movie that has loads of human emotions seamlessly built into the narrative and at the same time keeps the thrills and excitement going. It is a rare blend to achieve which the makers of this movie were able to accomplish. Partly the writers and partly the actors are responsible for it. 

George Clooney as the cheerful Lieutenant Matt Kowalski, the commander of the team on board the space shuttle, the Explorer. His casual and calm demeanor in the face of imminent  catastrophe makes him one of the most likable and memorable characters in a science fiction movie.  Sandra Bullock has a more physically demanding role to play with more screen time (she is there in almost every frame). She has worked hard to portray Dr. Ryan Stone on her first space mission who eventually becomes the sole survivor of the cataclysm. That the two were able to evoke the kind of emotional responses from the viewers in spite of being masked most of the time by the space suit that they were is a remarkable achievement indeed.

Steven Price's musical score relies at most places on the power of silence which is used to a great effect. "Gravity" is best enjoyed in a 3D cinema, preferably in a IMAX screen with  Dolby Atmos surround system.. 

On the whole, "Gravity" works to a great extent mainly due to its human content apart from stunning visuals, technical wizardry and the adrenaline pump.  

Bottomline: "Out of the world", quite literally 

4/5

Pattam Pole

My review: Pattam Pole

There are certain movies that appear very interesting and riveting on paper but sadly when made into a feature film somewhere things gets muddled and fails to create the same impact onscreen. Ace cinematographer Alagappan's directorial debut "Pattam Pole" is a classic example to the adage getting "lost in translation". Honeymoon is over Dulquer Salmaan for he needs to get careful in choosing his movies henceforth. "Pattam Pole" is weakest of his till date.

It is not that the movie is a total wash out but the interesting moments which are few and far in between get marred by cutesy effort from the director. A simple story that could have been made in a more riveting manner gets diluted by the maker's overindulgence in his passion which is totally sucks out the soul from the narrative. In his pursuit to make a stylish movie, Alagappan ends up making a soulless movie. 

Story is nothing new. Oft repeated theme of two youngsters from different religious background falling in love with each other and the problem that ensues. The relief here is that the problem doesn't come from neither the families nor the religious community. It is the egoistic and self-centered lovers themselves who become spoke in their own wheels. Interesting premise that but cliched screenplay with beaten to bushes scenes and dialogues mars the flow of the movie. To make the matters worse the screenplay is sluggish and the pace abysmal.

Dulquer Salman is all at sea with his performance as Karthik, a Tamil Brahmin who falls in love with a  head-strong christian girl. It is probably for the first time that Dulquer is so careless with his performance. Only solace is his rendition of Tamil dialogues which don't carry an accent. Malavika Mohanan is a refreshing face but has a long way to go as an actress. Support cast is made of solid actors all of whom are under-utilized by the director. 

Movie's strengths are its music and visuals. M.Jayachandran's musical score is very good with movie having good number of melodious numbers. The cinematography is astounding and is a visual treat. 

On the whole, "Pattam pole" is a soulless, synthetic and boring movie with music and cinematography offering some solace. 

Bottomline: Artificial

2/5 

Nayyandi

My review: Nayyandi

Now and then you get to see a movie which makes you wonder what was the purpose with or for such a movie is made in the first place. Especially so when it involves not one but two national award winners in its crew. Sargunam's Dhanush starrer "Nayyandi" is a total wash out. It is two and half hours of unmitigated torture that one would think twice before foisting it on even the most dreadful of  your enemies. 

Inspired from yesteryear Malayalam blockbuster "Meleparambil Aanveedu" "Nayyandi" is totally messy. Wonder what made Dhanush sign this project considering the fact the it has been a very long time since he has given a decent box-office hit. And also the same Malayalam movie has already been remade in Tamil in the 1990's by Pandiarajan as "Valli Vara Pora" which was a huge flop. 

First half of the movie is atrociously lazy and dumb. Nothing much interesting happens and not laughs what so ever other then couple of really funny scenes like Dhansuh trying to defy gravity by jumping across a well or from one tree to another, a monkey-man impersonation may be. Second half is very very mildly tolerable mainly due to better writing which ensure one can laugh with the movie instead of at the movie like in the first half. Or is it due to the rock bottom mediocrity achieved by the makers in the first half which brings down your expectation to the point of no return that even semblance of normalcy make it look like something great to laugh about.

Dhanush tries hard to infuse energy into this pathetically written role but to no avail. Normally an effortless performer in "Nayyandi" Dhanush's acting is synthetic. The bubble surrounding Nazriya Nazim gets burst with her performance in this movie. It goes to show that actress of her type needs a good director to extract work. Her she is all at sea. Especially her overt cutesy expressions in the song sequence is irritating to the core. Sriman and Sathyan at least manage to infuse some laughter mainly due to better writing in the second half. Soori is  not that lucky. 

Gibran's songs barring the novel "Teddy bear" song are not that interesting. Background score is no better. It is really surprising to see Velraj's name in the title credit as the movie's cinematographer because after his work in movies such as "Aadukalam" and "Engeyum Eppodhum" his work in this movie is pretty ordinary. Not that this movie deserves better. 

On the whole, "Nayyandi" is one forgettable movie for both the makers as well as the viewers as it is a silly movie lazily made.

Bottomline: Pathetic to the core

2/5

Vanakkam Chennai

My review: Vanakkam Chennai

Luck seem to smiling on the Udhayanidhi family. First when very few expected it to be a hit, Udhayanidhi's debut movie as hero "OKOK" became a blockbuster hit last year. Now when his wife Kiruthiga was making her debut as writer-director with "Vanakam Chennai" very few expected it to be watchable. Movie has got released amidst absolutely zero expectation but the end result is that movie is not only watchable but thoroughly enjoyable too.   

Though the movie's storyline has influences from a number of sources both domestic and international, "Vanakam Chennai" as a breezy rom-com works big time. Movie is simple in its storyline, screenplay and execution. The makers have not made any lofty claims about the movie to be the next big experimental film that would change the face of the Indian cinema and they don't pretend to do it too. 

Made in a lighter vein movie instills an infectious energy and cheerfulness into the viewers as it progresses. The romance also happens as the story moves forward. One can't point out a particular point to tell when hero or the heroine fell for each other. Like it happens normally most of the times especially when the couple start of as either  friends or foes the love that happens has no point source. Also that the movie's heroine is a strong character without being a female chauvinist (which is how a strong female character is usually conceived especially in the movie made by female movie makers) who has her fair share of insecurities and doubts is a refreshing aspect of the movie. 

Though the movie is not without its share of blips. Kiruthiga fails to decide where to end a scene as a result many comical and interesting scenes gets prolonged which cuts down the impact of the scene. She should either learn when to say cut during the shoot or sit with the editor and sharpen his scissors judiciously.  But considering this is her debut movie, may be it can be excused for the larger picture is enjoyable.  

Shiva has improved to a large extent in his acting but still it is way short of what is expected from versatile actors to have a long run in the cinema industry. He has tried his best in the emotional sequences but needs more effort. But it is a step in right direction for him. He has started trying new genres which is good for him. Priya Anand actually carries the movie on her shoulder. Her character is well written and she has well internalized it. She excels equally in comical as well as serious sequences. However she continues with her poorly done make-up this time too.  

Day has come when Shanthanam has become a liability to a movie rather than being an asset. He has started to become irritating with his oneliners. In this movie too his character could have been done by someone else. These are warning bells for him because it took a long period for a similar thing to happen for Vivek or Vadivelu. But it has been a fast rise and turning out to be a fast decline for Shanthanam. 

Anirudh's songs are already a rage with the youngsters. "Oh penne" is his signature melody while "Osaka osaka" is a delightful number. His background score is also good. Richard Nathan's cinematography has helped in presenting the movie in a grand and suave manner.

It is a promising debut for Kiruthiga Udhayanidhi. It seems to be the season of rom-coms. After the success of "Raja Rani", "Vanakkam Chennai" too will follow suit as an eminently watchable romantic comedy.

On the whole, "Vanakkam Chennai" will do good business in the multiplexes and cities with youngsters especially female crowd loving it. 

Bottomline: A breezy light-hearted romcom. 

3.5/5

Onayum Aatukuttiyum

My review: Onayum Aatukuttiyum

After that misadventure called "Mugamoodi", auteur Mysskin is back with a bang. His latest movie "Onayum Aatukuttiyum" (OA) is yet another testimony to the fact that Mysskin is one Tamil director who can be rightly called an auteur. All his movies (even his wannabe commercial masala) bear a strong personal style which reflects his creative vision. His influence gets reflected not only in his making style, shot composition, acting style of his cast, musical scores, etc. 

Without any disrespect to the great man Ilayaraja, OA's background score has Mysskin movie stamp than Ilayaraja's which once again reiterates the creative control this auteur has on his films. I am a huge fan of Ilayaraja, especially his background scores, but this is may be the first instance that I saw a director's influence in his music. I may be musically ignorant or it might be a naive statement but whether it is Sunder C.Babu or K or Ilayaraja (with exception of "Nandhala" where Ilayaraja stood out inspite of Mysskin's influence ) the background score in Mysskin's movie sounds similar which elevates even the most mundane of scenes beautifully. 

As said earlier Mysskin's making style, shot composition, his signature low angle shots, static camera shots are there in OA too. But here it gels wonderfully well with the narrative unlike "Yudham Sei" where at certain places it looked forced. His movies also have unique colour tones like green tinge of "Anjathey" or bluish tinge of "Nandala". In OA it is reddish which is apt for the theme of the movie. 

At present there are very few makers who are well informed and well researched on various topics like Mysskin. When a promising youngster like Atlee still shows key bunch as a remedy for fits, Mysskin surprises with his medical knowledge. The terms used, techniques and whole enactment of the surgery episode deserves credit. His intelligence and knowledge is not only restricted to that sequence but also to the working style of police department as well as the gangsters and many more other areas. Also he seem to be a keen observant of people around him, not only regular ones but also the marginalized people like eunuchs, homeless mentally ills, elderly securities, to quote a few who all have significant parts to play in the movie.   

Movie has lots of sequences which would make the viewer proud. The screenplay is like a pack of cards stacked in a puzzle such that when one end is pushed it seamlessly make a wonderful pattern as everything is placed perfectly to fall in order. Right from the first shot till the end every sequences, every scene and every shot is placed seamlessly that they move on like the pack of cards making for an awesome viewing. It is so engrossing and wonderful that before you notice it is two and half hours that has elapsed. 

Mysskin as the Wolf has put his sweat, blood and soul into the character. He excels as a daredevil murderer on the run who has discovered his softer side only recently but his gory past still catching up with him. He is just about perfect for the role. Only place where he gets overboard is when he tells the story of a wolf and the goat family to the young kid in the cemetery. Sri as the goat, Chandru is brilliant. He takes of from where he left in "Vazhaakku en", if not better than that. Shaji as the CBCID inspector Lal is outstanding. He is so spontaneous. Except for the idiosyncratic villain gang, every character in the movie is written with utmost care and individuality and the persons who have enacted them have also done their roles with utmost sincerity. Even minuscule of roles stays in your mind like the police constable who instantaneously wishes in the time of crisis, the mentally ill person who cares a damn for money, etc. 

Balaji V Rangha is the cinematographer who has shot the movie in Mysskin's style. He is a worthy addition to a healthy line up of wonderful technicians from the south.

On the whole, "Onayum Aatukuttiyum" is the kind of movie which needs the backing of a big studio, a wider release and publicity and a grand reception from the connoisseurs of Tamil cinema. 

Bottomline: Respect.

4/5 

Idharkuthane Aasaipattai Balakumara

My review: Idharkuthane Aasaipattai Balakumara

"Idharkuthane Aasaipattai Balakumara" (Idhaba) written and  directed by Gokul starring the star of the season Vijay Sethupathi is an average fare. It is a case of combination of inadequate translation of the script on to the screen, lazy direction and poor casting. But it is not all downhill because movie does boasts of things that keep you interested. May be the high standards last few movies of Vijay Sethupathi has set might have played the spoilsport for Idhaba. It is difficult to say whether it is a boon or bane for his movies but it is to Vijay's credit that he has already created a reputation for himself. 

Primary reason why Idhaba is watchable is Vijay Sethupathi. It is a pleasure to see him enact "Sumaar Moonji" Kumaru. Though the characterization and its writing is downright silly and crude, Vijay makes it eminently watchable and enjoyable. His body language, "madras bashai" (Madras dialect of Tamil), attitude and variations in his dialogue delivery, almost everything that is associated with Kumaru is thoroughly enjoyable. His understanding of his character and its shades and variations is improving with every passing movie of his. Only thing is he must be mindful of trying out various genres without getting himself confined to his comfort zone which seems to be comedy.

Earlier I have mentioned that movie looses out in translating things from paper onto the screen. Many scenes are testimony to that fact. Especially the ones involving Ashwin and Swathi as well that involving the accident and the tension that ought to have followed it in the hospital scenes. In neither of these places the writing ensures the correct form of emotions are transformed onto the viewers nor they have any intensity they ought to have created. This may be also due to poor or rather lazy direction. Laziness is more starkly visible because Gokul has tried to dare something different, with glimpses of hyper-link format of narration (though he has not strictly adhered to that format) and dark-comedy in that murder story that gets intertwined into the narrative.

Among actors talent like Pasupathy is grossly underutilized . Here he is restricted to buffoonery. Ashwin is like fish out of water. He tries his level best but sadly that effort shows on screen which distracts the viewers from enjoying his portrayal. Swathi is yet another case of poor casting. Also she looks disinterested in the proceedings. Nandhitha is better, both in her characterization and her own portrayal of Kumudha. Soori makes you laugh with his idiosyncrasies.   

"En veetula" and the prayer song are good to hear enjoyable numbers from Siddarth Vipin. However his background score is noisy. Mahesh Muthusamy's cinematography is adequate for this movie. 

On the whole, Idhaba is watchable primarily for Vijay Sethupathi. 

Bottomline: Sumaar movie.

2.5/5