Thanga Meenkal

My review: Thanga Meenkal

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

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

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

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

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

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

 

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

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

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

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

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

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

Bottomline: Inconsistent and Narcissistic attempt.

3/5

We're the Millers

My review: We're the Millers

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

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

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

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

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

Bottomline: No laughs.

2/5

Anthaka Mundu Aa Tarvatha

My review: Anthaka Mundu Aa Tarvatha

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

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

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

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

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

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

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

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

3.5/5

Desingu Raja

My review: Desingu Raja

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

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

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

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

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

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

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

Bottomline: Insult to the sense of the movie watchers.

1/5

Jobs

My review: Jobs

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

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

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

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

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

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

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

2.5/5

Thalaivaa

My review: Thalaivaa

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

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

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

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

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

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

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

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

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

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

Bottomline: Time to (continue the) lead. 

3.5/5    

Veyyi Abaddalu

My review: Veyyi Abaddalu

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

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

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

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

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

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

Bottomline:  Lack the punch.

2/5

Pullipulikalum Aattinkuttiyum

My review: Pullipulikalum Aattinkuttiyum

"Pullipulikalum Aattinkuttiyum" is a movie which gives you a pleasant feeling throughout while watching it. If there is something known as "feel good movie" this is it. Lal Jose has directed the story scripted by Sindhuraj. Story is a simple straight-forward one of the youngest brother (Aattinkutty) of the family trying to set things right in his dysfunctional family plagued by wastrels of three elder brothers (Pullipulikal). Screenplay is simple and lucid. Dialogues peppered with good dose of humour is brilliant. 

What is striking about this movie is that though the story and narration are simple, somehow one gets hooked to the movie right from the beginning. The pleasantness of the mind with which one watches the movie is testimony to the fact that something is special with this movie. Be it the natural earthy characters effortlessly enacted by a stellar cast or the wonderful serene landscapes of Allapuzha and its hamlets captured pleasingly on camera or a soothing background score, movie keeps your mind feeling good. 

Kunchako Boban with a different look is the heart and soul of this movie. He has given an excellent performance as Aadu Gopan the lone breadwinner of the family consisting of three elder brothers who booze away all the money he earns and a caring mother. Boban's portrayal sans melodrama is praiseworthy especially since there is ample space for the same. He is effortless in the light-hearted sequences and graceful in the romantic portions. He is ably supported by Namitha Pramod who is not only gorgeous but a natural actress too. A seamless transition from a haughty money-minded danseuse  to a humble and lovable sweetheart of the protagonist is shown seamlessly by the actress. 

Movie boast of a load of supporting actors who  have all performed exceedingly well which elevates this simple movie to a higher level. Suraj Venjaramoodu is in one of his best performances. He is extremely funny and does well in the serious sequences too. Shammi Thilakan, Harishree Ashokan and the trio of Irshad, Shiju and Joju as the three elder brothers are all very good in their respective portrayals. Anushree and K.P.A.C.Lalitha lend good support while Bindu Panikar as the heroine's mother is excellent. She also has scope to showcase her versatility which she manages to do with elan.   

Vintage Vidhyasagar is back with a bang with "Pullipulikalum...". Be it the songs or the background score, Vidhyasagar has enjoyed it to the core which shows. Background score is in line with the happy mood that is felt throughout the movie while songs are very good. "Otta thumbi" and "Kooti mootiya" are throwback to those days when every movie of his had couple of wonderful melodies. Pleased to see the ace composer back after a gap. 

S.Kumar's cinematography is eye-catching having helped by the fact that the locations and the natural beauty of the places chosen have handsomely elevated the visuals. Technically movie is good.

Lal Jose continues to make merry with his feel good family entertainers. "Pullipulikalum.." will join the list of his successful movies.

On the whole, "Pullipulikalum Aatinkuttiyum" is a whole some feel good family entertainer to be watched in theater with your whole extended family on a sunday afternoon. 

Bottomline: Pleasant...!!

3.5/5 

Neelakasham Pachakadal Chuvanna Bhoomi

My review: Neelakasham Pachakadal Chuvanna Bhoomi

After a very impressive "Chaapa Kurishu" and not so impressive "Esha" of "Anchu Sundharikal", Sameer Thahir's third attempt at direction is "Neelakasham Pachakadal Chuvanna Bhoomi" (NPCB). Starring Dulquer Salmaan and  Sunny Wayne in the lead supported by a bevy of pan-Indian actors, NPCB is a road-movie that follows the protagonists' bike travel from  Kerala to Nagaland in search of the lady love of Dulquer. All along the journey they are faced with various landscapes, cultures and people influencing their life and their outlook. Though it appears philosophical NPCB is presented in a lighter vein which entertains in a restrained manner.

Though the screenplay could have been a bit better and climax which is very poor considering that we have been waiting for it for almost two and half hours with anticipation. The superficial ending plagued by a hurried up reunion of the lovers leave the viewers longing for more. There is absolutely no emotional connect with the ending even after one gets feeling of emotionally traveling with the protagonists all along the journey. Except for this blip the movie is eminently watchable and thoroughly enjoyable.

Main reason for the success of this movie is the protagonists Dulquer Salmaan and Sunny Wayne who have given excellent performances. Dulquer is getting better with every other movie of his and his choice of scripts are interesting and speaks a lot about his maturity which is rare in case of star-kids these days. Sunny keeps going on with his good form that he is in. A gifted talent that he is it is time that he gets more substantial roles in future like this one.

Among the ladies Paloma Monappa, Surja Bala Hijam and Ena Saha impresses in that order. Paloma is spontaneous and lively while Surja seems to be a bit restricted and stiff. Ena Saha is all smiles lighting up the screen whenever she is on it.

Rex Vijayan's background score is one of the pillars of this movie. Almost half of the movie is filled with only background score and Vijayan has utilized the opportunity to his advantage. A cinematographer himself Sameer has extracted good work from Gireesh Gangadharan. He also has lots of scope to capture vairous landscapes as enunciated in the title.  Movie is visually stunning and technically very good.

On the whole, NPCB is a good movie to be enjoyed with whole family. Go for it and join the protagonists in their adventurous trip from Kerala to Nagaland.

Bottomline: Enjoyable ride.

3.5/5

Aadhalal Kadhal Seiveer

My review: Aadhalal Kadhal Seiveer

Suseendran's "Aadhalal Kadhal Seiveer" when you look at the title retrospectively after watching the movie one can understand the director's sarcasm and at the same time the angst he has on the prevailing societal mores. Just about 100 minutes in length Suseendran has handled a subject that is not only relevant but also prevalent in the society. And in the end he has succeeded in pricking the conscience of the viewers. After a long time comes a movie which deeply moves the viewers and remains in the mind for long disturbingly. 

It is okay to have a movie that is short and crisp but movie of this type with it's hard hitting content needs more time for the subject matter to get established and the drama to unfold. Conversely the first half is half-baked with scenes moving at a speed which prevents the viewers from getting acquainted of various characters especially the lead protagonists and their family. Hence first half moves without much impact but succeeds in kindling the interest at the intermission point. 

Second half is brilliant. It takes a neutral viewpoint of how things happen in reality if  one does get confronted with such a situation. Backed by power-packed performance of most of the actors with the male lead Santhosh remaining the weakest link and soulful background score from Yuvan Shankar Raja, Suseendran manages to redeem himself in the second half. Climax especially warrants mention. It is one of the most moving climax in recent times that too ending the movie with a pathos song needs guts and gumption. One has to applaud the audacity of Suseendran in this regard which has elevated the movie to a great deal. That the audience are unmoved till the song is over and the end credits appear speaks volumes about the impact it has made on the viewers.

It is hard for a lead actress to get roles of such substance and scope to perform if not outperform the male lead. Manisha Yadav has hit the jackpot with this author-backed role which she has utilized to her advantage to the hilt. She is brilliant in effortlessly bringing out various shades of her character. She manages evoke ridicule, sympathy, respect and anger in the viewers with regards to her character which is no mean achievement. Though her character seems a continuation from where she left from in "Vazhakku en 18/9" her acting skills has improved a lot. In contrast Santhosh is a pale shadow in front of Manisha, clearly over-shadowed by her. 

Among the support cast Jayaprakash and Thulasi as the tormented parents of the girl are excellent. Especially Jayaprakash's understated performance is outstanding in scenes where a lesser actor would have clearly gone overboard and made the scene melodramatic. Poornima Bhagyaraj doesn't have much scope to perform. 

Yuvan Shankar Raja's music is the soul of the movie. Three more songs in addition to the ones in the album that was released a year back  are there in the movie. The climax song and the background score around the final few reels are testimony to his reputation of being the best with regards to background score among the younger music directors. "Thappu thanda", "Mella sirithal" and "Alaipayum nenjinil" are already huge hits.

Technically the movie is sleek and stylishly shot. Sooorya is the cinematographer and Anthony, the editor.

Suseendran is back with a bang after his lackluster "Rajapaatai". He has taken a topical subject and has presented it in a straight-forward and crisp manner.

On the whole, "Aadhalal Kadhal Seiveer" is a must watch for whole family. It is better to be forewarned than to feel sorry later.

Bottomline: Bitter truth.

3.5/5

Ainthu Ainthu Ainthu (555)

My review: Ainthu Ainthu Ainthu (555)

Sasi is one of those old school directors who doesn't believe in extravagance either in his movie launch or audio launch nor does he indulge in cut-throat promotions. Also if you have a look at his movies he has always worked with not so big stars while almost always introduced new technicians. Except "Roja Kootam" in all his movies he has introduced Music directors. "Ainthu Ainthu Ainthu" is just his 5th movie in his career spanning 15 years which is very slow rate by any standards but such is his works so far that each of his previous movies have rich content, each way different from one another. 

Such a classy maker Sasi is back with "Ainthu Ainthu Ainthu" 5 years after his last release critically acclaimed "Poo". This time he has tried his hand on action-thriller. Movie boasts of numerous twists and turns which keep the audience hooked to the screen throughout except for some instances which is mainly the unimpressive love-track between the lead pair. Movies with such numerous twists and turns must have a central knot which should be strong, if not shocking. But here that main knot is very ordinary, if not laughable. When that knot was revealed one can notice people breaking into laughter in the auditorium. Due to that weak knot that ought to have made the movie's impact stronger, 555 ends up just short of being a perfect thriller that would have scorched the screen.

Nonetheless with an astute screenplay Sasi manages to keep the viewers in tenterhook. Though no where near his previous creations in term of quality of the content and ease of making, still Sasi comes out unscathed in the end with a movie which promises a twist every 5 minutes. Except for the romantic track which is childish and below average rest of the movie is good. Makers themselves take a dig at it when Shanthanam says about the heroine that I thought she is Genilia but she is more like Anjali paapa.  

Bharath has put in his sweat and blood for this movie. His hard work shows on screen. He is present in almost every frame of the movie and he has grabbed this opportunity with both hands. He is brilliant except in couple of instances where he goes overboard trying to enact helplessness bordering on psychotic. Movie has two heroines with well written roles for both of them but both Mirthika and  Erika Fernandes are short in acting skills, hence have wasted the opportunity. Erika is marginally better than Mirthika in acting department. She reminds one of Ileana with her svelte figure and looks. Mirthika is fresh looking and an instant head turner. If only she hones her acting skills she might become really big in Tamil cinema. 

Shanthanam has about half a dozen lines of which only a couple makes the audience laugh. This time around he has more serious scenes to do and is more of a supporting actor rather than a comedian. The villain gang and the main villain, Sudish Berry however are routine Tamil cinema caricatures.

Simon makes debut as the music director. "Vizhiyile Vizhiyile" is a wonderful melody picturized in an awesome manner. Editor Subarak has done one of the best work for a song in recent times with brilliant job from the cinematographer Saravanan Abhimanyu. Hats off to Sasi for conceiving such an interesting picturization for this song. "Mudhal malai kaalam" and "Kadhal intha kadhal" are also very good melody numbers. Simon has done well with his background score also. 

Action choreography is excellent. Especially the gun fight between Bharath and  Sudish Berry in the end is brilliantly choreographed and enacted. Technically too the movie is of good standards.

"Ainthu Ainthu Ainthu" may be the weakest of Sasi's movies so far but still it is way better than bevy of recent movies that graced the theaters in the name of commercial cinema. For Bharath it has come as a lifeline and might salvage his career which was going nowhere with slew of bummers at box-office. Only problem this movie might face is that lack of promotion and sudden release which might result in poor reception which was evidenced by the meager 20% occupancy the movie had when I watched it. Good word of mouth might turn the tides in the box-office but time is running out.

Bottomline: A twist every 5 minute, just falling short of a perfect suspense-thriller. 

3.5/5

Chennai Express

My review: Chennai Express

 One is the biggest superstar of Bollywood while the other is the most sought after director who has given three 100 crore movies on the trot. What happens when they decide to do a movie together. "Chennai Express" is the answer. How good is the answer is for all to decide but whatever the result is, it is not original (one might ask which Rohit Shetty movie is..??!!). 

Scenes blatantly copied (which some hypocrites may christine it as "Tributes", Bulshit...!! ) from Tamil movies "Muthu", "Ghilli", "Alexpandian" to name a few. Most asinine of lines which are supposed to make the audience laugh (which many did, wonder what might be their IQ levels..!) like "I am from Punjab", "Which part ?" , " Whole body"...or the reply of SRK to Sathyaraj's "Unaku Tamil Theri'ma ?? " which one gets to watch every week in the comedy circus. (Since Rohit Shetty is a judge of the show he must be unconsciously gotten inspired by the performers in that show). 

Slipping on the grass by SRK, weird somniloquist attempt by Deepika (which is an amalgam of "Chandramukhi" Jothika and "Anjali" Baby Shamili :P) or exchange of messages through hindi songs (which was really comical the first time but when it gets repeated often it gets irritating) are things which are supposed to tickle one to laugh out loud which does happen for they were many people who seem to have come determined to laugh at anything that they come across today no matter how infantile it may be. 

Movie miss out not only in logic (any how if you look for logic in a Rohit Shetty movie then you must get tested  first ) but what about the geographical landscape. It was really laughable when the famous Dhood Sagar falls is passed off as the railway station of the Heroine's village. Many parts of Karnataka and Kerala are passed of as Tamil Nadu. 

Language is another casualty. Someone was credited as "Tamil dialogue trainer/supervisor"  but he must have been on grass while they were filming the movie I guess. When there are numerous talented voice artists around why should the makers make us endure the torture of non-Tamils trying to murder the language. It is really funny and at the same time irritating to hear Nikitin Dheer mouth Tamil dialogues many of which are in now redundant chaste Tamil. Deepika mishmashes Tamil,  Hindi and English all with weird accent. When she says that she will teach Tamil to SRK one does shirk in the seat with irony but the wretched result of the same when it appears in the climax when SRK tries his hand (mouth rather) on Tamil one can't but help the profanities from coming out of one's mouth. Why does she has that constipated look when she speaks in Hindi by the way..???

What made Sathyaraj sign this movie is anyone's guess. A cartoonish caricature, he too gets boringly repetitive with "ennamma kannu" routine of his. 

Movie is at times comical, very next scene it turns serious, then gets slapstick followed by a scene which works out more as a spoof which is again followed by a sentiment scene. The writers clearly have lost focus in what they were writing which in no way saved by the lousy direction. All of a sudden hero is in the international waters gets caught by police as a refugee, and in next scene he does this "Ghilli" impersonation. Clearly overdose of dopamine at work.   

Redeeming aspects of the movie (apart from the nice air-conditioned cooling in this dreadful Chennai heat, and hoards of good looking lasses around ) are Dudley's cinematography and Vishal-Sekhar's music (only songs mind you, their background score is very ordinary ). The video and audio of "Titli" and "Kashmir main tu Kanyakumari" are worth the 20% of the money spent. Rest of the money is what SRK does to his "daadaa's" ashes. 

Leave aside the logical, linguistic, geopolitical and ethnographic inaccuracies and insensitivities. Even otherwise "Chennai Express" is a pathetic movie lousily made. It is strictly for those pea-brained juveniles who are game for cheap jokes and (like SRK says in the movie ) "single screen humour". 

Bottomline: Survived 2 1/2 hours surrounded by 500+ imbeciles and a migraine. 

2/5

The Conjuring

My review: The Conjuring

 

 Supernatural horror movies are best enjoyed by people who believe in god and spirits but for non-believers it would be a great challenge on the part of the makers to scare them. Writers Chad Hayes and Carey Hayes and the director James Wan with more than adequate support from John R.Leonetti, the cinematographer and Joseph Bishara, the Music director have achieved precisely the same. That is why "The Conjuring"  has managed to scare even a non-believer in me. 

Main reason for it is though the movie uses oft-repeated horror movie cliche's the restrain shown by the makers in using the same is what makes this movie one of the scariest movies in recent times. There is no on your face horror sequences or makers trying to bombard you with gory faces or creepy shots or unnecessary bangs in music. They have been used sparingly and appropriately which is one of the main why the movie surprises you with the scary moments even though they are only a few nonetheless most of them effective. 

Whole cast have put in good effort. Be it Vera Farmiga and Patrick Wilson as Ed and Lorraine Warren, the paranormal investigators or Lili Taylor and Ron Livingstone, the head of the family who gets troubled by the supernatural forces. 

For a horror movie to be successful cinematographer and the music director should back the writers and the director adequately. In this movie John R.Leonetti has managed to scare the viewers not with undue gimmickry but with astute use of camera angles and lighting. He is very well supported by Joseph Bishara who has used silence wonderfully well in his background score. At many places silence spooks you more than creepy sounds.

On the whole, though "The Conjuring" strictly follows the oft-used horror movie cliches, it is scary at couple of places nonetheless. 

Bottomline: Well made horror flick that scares.

3.5/5

Sonna Puriyadhu

My review: Sonna Puriyadhu

"Sonna Puriyadhu" as the title indicates it would be difficult to understand why the movie does not strike a chord with the audience. It has "Agila ulaga superstar" Shiva with his indomitable comical style ably supported by rest of the cast who all are capable actors. It has a story which is a perfect comedy material that can be exploited to the core to rake in the laughs. Movie is technically good and sleek. There are quite a few humorous moments but all these does not add up in the end to satisfy the audience. The main culprit here is the screenplay and direction. 

One can't but help get a feeling of watching an amateur skit. We have seen skits staged in our college days better executed and more comical than this movie. Screenplay is way too sluggish to keep the viewer interested. And the direction leaves a lot to be desired. Scenes are poorly cut, many extending a bit more than what is needed. At times movie attempts at spoof, at times tries to be a romantic comedy, suddenly brings in a sentiment scene or two. There is a clear lack of purpose that is striking. May be the makers if they were a bit focused on what they intend to make movie might have turned out better.

Shiva is good in parts but looks disinterested in most of the scenes. He is too good in the dubbing sequences and the introduction scene in which he sings "Rosa hai, dil main rosa hai". (This scene brings to the forefront the stereotyping that Tamil movies are also not bereft of. So when our movies make such cheap fun of Hindi speaking people and their Tamil accent it must be prudent for us to be receptive when the vice-versa is shown wrt., Chennai Express). It is when he tries to do certain serious sequences that he falls flat. It is getting a bit redundant seeing him do the same time and again. For his style to work out it should be backed by a good script but here it is not so. Vasundhara Kashyap continues with her good work. She is one actress who is able to perform whatever role she is given. Also it is heartening to see the female protagonist getting equal footing. Rest of the support cast are all good, have done their parts well.

Yatish Mahadev is the music director. None of his songs are hum-worthy and his background score is poorly done. Especially in the climax the voices of the actors get drowned in the BGM. Saravanan's cinematography is good. He shines in the duet song sequence. Movie looks glossy. T.S.Suresh, the editor seems to have dozed off in his editing table. A bit more diligent effort from him could have salvaged the movie to some extent.

Krishan Jayaraj has written and directed the movie. He seems to lack clarity of purpose. And he has to work a lot more in honing up his directorial skills. In these days in which even the short films are made more professionally it is shocking to come across a movie that can be best described amateurish. 

On the whole, except for a few comical moments here and there by and large "Sonna Puriyathu" is a huge disappointment.

Bottomline: Not worth the money spent.

2/5

Pattathu Yaanai

My review: Pattathu Yaanai

It's been six years since Vishal gave a hit and after a string of flops he has gone back to Bhoopathi Pandiyan who is the director of his last hit movie "Malaikottai". But the problem in "Pattathu Yaanai" is that the movie is totally out of sync with the contemporary. Movie studiously follows the time old template laid for mass commercial masala movies which nowadays has become redundant. When more established stars themselves are steering away from this baloney it is both disheartening and irritating at the same time to see these up and coming actors sticking on  to it.

"Pattathu Yaanai" comes across as a half-backed attempt by all concerned. Everyone seem to be going through the motions. Movie's story is ridiculously hackneyed complete with a most banal love track and even more pathetic back story. Execution leaves a lot to be desired with amateurishness writ large.

Pathetic characterizations make it really hard for the viewer to jell with the story. The protagonist is the age old Tamil cinema's do-gooder who suddenly becomes a super-hero reincarnate at the drop of the hat. Heroine is a dumb school student who falls for the hero just because he happens to organize her poorly kempt house. Villains are the most ridiculous of all, less said about them the better.

Vishal looks clearly disinterested throughout the movie. Wonder what goes through the mind of such young actors when they spend time in projects like these. Another star kid on the horizon Aishwayra Arjun is a big disappointment. She is poor in emoting which is further magnified by a poorly written role. Shanthanam's comedy fails to evoke laughter. Villains are irritating with their buffoonery in the name of villainy. 

Except "Azhago Azhagu" none of the other songs warrant even a second listening. Thaman is the music director while Sabesh-Murali have done the background score which is poor and at many places not in sync with the scenes. Vaithy is the cinematographer who has done what is expected of him for a commercial movie like this. Technically movie is average.

On the whole, "Pattathu Yaanai" is a bad advertisement for Tamil cinema and needs to be ignored. 

Bottomline: Half baked and stale. 

1.5/5