Iyobinte Pusthakam

My review: Iyobinte Pusthakam

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

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

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

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

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

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

Bottomline:  A visual treat with some cerebral topping. 

3.5/5

Gone Girl

My review: Gone Girl

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

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

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

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

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

Bottomline:  Must watch and goosebumps guaranteed.  

4/5

Poojai

My review: Poojai

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

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

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

Bottomline: A terrible film.

1/5

Nerungi Vaa Muthamidathe

My review: Nerungi Vaa Muthamidathe

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

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

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

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

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

Bottomline: A good movie.

3.5/5  

Kaththi

My review: Kaththi

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

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

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

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

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

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

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

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

Bottomline: Mostly sharp with few blunt edges.

3.5/5 

Madras

My review: Madras

Pa.Ranjith's "Madras" after his impressive debut with "Attakathi" reaffirms his potential. There has been numerous movies made with Chennai as the backdrop but rarely one can seen a story on those belonging to the oppressed caste shown with such honesty and conviction as Ranjith has managed with "Madras". The dalit geo-political demographics that is so inherent within the landscapes of the northern parts of the metro has never been so aesthetically portrayed onscreen as far I could remember. What on a superficial viewing could be dismissed as a regular political action movie that happens in Chennai has a terrific underpinning of the lifestyles, culture, mores and psyche of the dalits in general, youth in particular. 

Though Ranjith could have made the movie crisper in the first half and could have had a more plausible and less convenient ending, till "Madras" keeps you glued to the screen all-through. Dialogues are so delightfully earthy which was evident in "Attakathi" as well. Casting is perfect with each and every character after being etched out so neatly are performed excellently too. Everyone of those characters have distinct personality traits that are so very well written. For instance, the character of Johnny is so delightfully fresh, exceedingly well performed by Hari. Anbu is another character that is so real who stands up for the political emancipation of his community who is immensely courageous yet circumspect when he gets to know his life is at stake. Maari is a typical seasoned politician of a smaller party who uses his community people for his own political gain.

Karthi's Kaali is another dimension of the community's educated and well employed youth who after enjoying the fruits of the affirmative action bestowed upon them by the constitution try to dissociate themselves from the community in their endeavor of social mobility. Even their parents at multiple instances hint at him of the same. Movie's female lead Kalaiarasi, well enacted by Catherine Tresa, is a strong headed typical girl from the community who are more independent, more assertive and more courageous than their counterparts in the opposite end of the spectrum. 

Santosh Narayanan's musical score and background score are terrific pillars for the stability of the movie's narrative superstructure.  "Naan nee" is one of the best songs of the year so far, well composed and well rendered. "Aagayam theepidicha" and "Kakitha kappal" are two interestingly sounding numbers. "Madras" will be the anthem of Madras for years to come. Background score is of international standards. Such quality background score back to back after his excellent work in "Jigarthanda" bodes well for the youngster who is fast climbing up the ladder. 

G.Murali's cinematography is excellent in capturing the hitherto unexplored parts of Chennai with gay-abandon. Pa. Ranjith comes across as a writer-director who not merely a story-teller (at which he is excellent) but the one who also gives equal importance to the milieu, culture, mores, customs and lifestyles of the demographic of the settings in which his story happens. That is the most important aspect because its is only socio-cultural setting and its representation that is going to distinguish movies from different parts of the world even if the stories are the same. And if Tamil movies ought to have a distinct identity for themselves these are the ones which are going to aid in that endeavor, not your routine run-of-the-mill stylishly shot commercial potboilers. 

Bottomline: Earthy, real and honest.

4/5

Money Ratham

My review: Money Ratnam

"Money Ratnam" is a typical mass masala entertainer that gets released during a festive season. Written by Anil Narayanan and Ajith C Lokesh, movie is directed by Santhosh Nair. Fahad Fazil is in his finest form delivers yet another entertaining performance in this road movie that keeps the audience in good humor for about two hours. Though the movie gets more and more over the top and logic-less towards the end, audience are treated to a good measure of fun uptil then that one can overlook these frailties that crop up.  

Movie moves at a good pace with the humor having a constant underpinning throughout the narration. There are quiet a few sequences that keeps you laughing out loud and few others which are down right silly. But the pleasantness that the movie exudes make it for a happy viewing. It is not a path-breaking effort by any  means but not a head-breaking one either. 

As mentioned earlier Fahad Fazil is into his elements. With every outing of his he is just growing in his stature as a versatile actor. This movie is a revelation for him to showcase his mastery over comedy which is so effortlessly done. Nivedha Thomas has nothing much to do but with whatever opportunity she has got she acquaints herself well. Aarthi has a nice cameo.

Movie is technically brilliant. Neil D'Cunha's shots are glossy. On the whole, "Money Ratnam" is a one time watch, two hours of sublime entertainment, worth the money. 

Bottomline: Fahad is having fun, we too. 

3/5

Yaan

My review: Yaan

"Yaan" has one of the finest visuals of action sequence this year. It has high production values and technically it is on par with any international movie. The conception and execution of the slow-mo action sequence right at the start as well as the chase sequence in the streets of Morocco are all very well done. Manush Nandan is the cinematographer who has shot the movie stylishly. It is expected when the movie is helmed by one of the biggest cinematographer in the country, Ravi K Chandran. 

Movie's album is yet another reason why many people would have harbored the thought of going to the cinema hall running this movie. Harris Jayaraj has come up with quiet a few foot-tapping numbers which though gives you a "heard-before" feel are hummable nonetheless. "Aathangara Orathil" and "Latcham Calorie" are two of the most in-demand songs in the FM stations over the past few months. 

These can be the only reason why one can even think of going anywhere near something remotely related to "Yaan", the movie. Even then if you enter the theater, there is no guarantee that you could come out with your health and peace of mind intact. The story is contrived, screenplay banal and direction non-existent. Even a light-man with an average knowledge about cinema and its making could have made a movie more engaging with more conviction than this "Yawn". It is shocking that such a terrible effort could come from one of the most acclaimed cinematographer of the country. 

Jiiva is in a terrible form and this movie further accentuates it. Thulasi Nair is okay with her histrionics but fills up the entire frame whenever she is on screen and whoever she is with. Even the most experienced actors  like Nasser, Thambi Ramaiah and Jayaprakash just go through their motions.

If you thought "Anjaan" was the worst film of the year, then think again. "Yaan" beats it by quiet a long distance and it could take a lot of hard-work to beat it. Movie is so terribly staged that what can you say about a movie in which there is a shot when they show a board written "Border" on a border fence between two countries, childish, juvenile or infantile..?!

Bottomline: Biggest "YAWN" of the year.

1/5

Jeeva

My review: Jeeva

Suseendran's "Jeeva" deals with the caste politics in Tamil Nadu cricket, a pertinent and a topical theme that often gets overlooked by both the media as well as the general public. The fact that 14 out of 16 players selected for India from Tamil Nadu are from one particular caste is not only shocking but a case of castiest terrorism. One must at the outset congratulate Susee for his courage and honesty with which he has approached this movie. But the problem with the movie is that it is not that gripping. 

First half meanders its way boringly with a very ordinary romantic portions interspersed with how the protagonist gets himself introduced to the divisional cricket at the state level. Nothing much interesting or engrossing in this half, as a result though it runs for only an hour it feels longer. Somehow the second half redeems the situation to an extent with razor sharp dialogues adding up to the levity. And it a relief that unlike most of the sports films made in India the protagonist need not indulge in heroic contrived battle against the system or a mighty opponent to show his might in a crowd-pleasing manner. Rather the writer-director has opted for a more "real" conclusion for the story. He has also done his homework right for there have been a lot of success stories like the one dealt with in this movie and many of those with the IPL team Rajasthan Royals, the team even the movie's protagonist plays for. 

Vishu is good, the fact that he is a cricketer himself has lend some much needed authenticity to his role. SriDivya is charmingly good while Lakshman is a revelation in his role of fiery Ranjith. Movie has a very good support cast, though by and large small time actors, their performances are terrific. Soori is in a fine form in this movie. D.Imman's music is not up to his own high standards he has set for himself in the recent times. Madhie's cinematography is terrific, especially the on field cricket sequences are excellently  picturized.  

Suseendran's intent is laudable, first for taking up an offbeat subject and second dealing it with conviction and honesty. But somehow he fails to churn out an engaging screenplay and allow the movie to meander itself to the end except for some fireworks here and there. As a result though the movie is just above two hours, one might get a feel of watching a movie that is too long for comfort.

Bottomline: A twenty20 on a slow pitch. 

3/5

Aranmanai

My review: Aranmanai

Only way to sit through Sunder.C's "Aranmanai" is to make peace with yourself that you are actually watching the 1970's-80's horror movies that used to get telecast in Raj digital plus on a lazy weekday afternoons when you are just back from your school. Just forget about the effort that you have put in or the money you have spent to watch this movie on big screen which it clearly doesn't deserve. 

But even if you compare it with the 70's-80's standards, movies of those times however tacky they look, they usually have actors who perform their best and succeed in making the viewers forget the insipidities on the prowl. The makers know when to unleash the horror, when to go it slow and when to break all hell loose. But "Aranmanai" is a case of poor scripting, lazy direction and below-par acting. There is not even a single scene where the viewers gets surprised or terrorized, the most bare essential of any horror movie. When horror element itself doesn't work, then the whole movie which is built on its basis falls apart. 

The movie is predictable to the core, right from the first scene till the last frame where they sow seed for a sequel. A ghost who is lovelorn, lover who is happily married, the possessed wife, savior of the family who tries all his might to overcome the evil designs of the ghost, the group of villains who are the reason why a timid village belle turn into a ghost and their gory deaths at the hands of it, a religious seer and a devotional song, whatever horror movie cliches you can think of are all present in this movie. As a result, the movie fails to makes any impact on its viewers. 

Only aspect that keeps the viewers seated in the auditorium is the comical aspects in the movie. Santhanam does succeeds to an extent in keeping the viewers in good humor with his typical sarcastic timing comedy. The flashback scenes too add up to the comedy with a clean shaven Vinay and trying to act Hansika. Andrea tries her maximum in the horror sequences, but her paucity of talent is evident in most of the other sequences. 

Bharadwaj seems to have got caught in the time warp too for all the songs are of the b-grade 70's-80's standards. Karthik Raja's background score does nothing in accentuating the horror, rather it is an ear-sore.  Technically movie is tacky and doesn't belong to the 2014's. 

On the whole, "Aranmanai" is a very poorly and lazily made horror movie sans any horror. Santhanam's usual comedy and many unintended comedies may keep you in your seats, but it is too trivial a movie to merit a viewing in a cinema theater.        

Bottomline:  a dilapidated palace. 

1.5/5  

Burma

My review: Burma

Tamil cinema is now abuzz with the neo-noir heist thrillers, following the cult internet following of "Aranya Kandam", touted as the first one of this genre in Tamil. Now Dharanidharan makes his debut with "Burma", a movie that deals with car robbery or rather "car seizing" as they call it, in the neo-noir style. Movie is stylish, well written, well performed and well made. Running just 98 minutes, the movie is taut too. The problem is there is nothing inventive or challenging to show in the script and it fails to create any tension or thrill in the audience. The movie fails in creating the "mood" that might have made this one a hell of a ride. In the end the makers have just settled for a ride. 

Though the movie's running time is economical, there are four songs which not only affects the fluidity of the narration but also plays the most important part in the movie's failure in creating the mood. But having said that, there is enough in the movie to go gaga about it. The unique characterization of the people who inhabitate "Burma" yet who feel and look real is testament to the terrific writing and presentation by Dharanidharan. Though there are not many heist scenes, the one in the highway when Burma and his accomplish con the gang with their BMW is one of the many well written scenes in the movie. But the main aspect of these type of movies is the surprise element in the twists which is not that evident here.

Movie has a wonderful cast comprising a mix of power-packed veterans and upcoming young talents. Sampath Kumar is just terrific as Guna who ends up at the receiving end each time in the hands of Burma, but still he maintains the majestic visage throughout the movie. Atul Kulkarni is adequate in a role that he has done umpteen times so far in his career. Michael is promising in the titular role of Burma. He needs to work on his dialgoue delivery. Reshmi Menon exudes confidence in her role while Karthik Sabesh is a riot in his role of Boomer. He has couple of terrific scenes to showcase his talents. Each and every character has a well rounded character graph and have uniqueness in their conception. 

"En Moochum Venam" is a delectable number by Sudharshan M Kumar who has composed the music for this movie. By and large his work is promising. Movie has enchanting visuals which are high on colours shot in a sleek glossy manner by Yuva. For a movie shot with a shoe-string budget, the production values are quiet high. 

Dharanidharan shows promise with the off-beatness of his script and mastery over his presentation, but needs to work on his scripting. It is by no means a routine lazy effort but can't be categorized as a trend-stter either. On the whole, "Burma" joins the list of all those well made movies with unique flavours made by the new generation of Tamil movie makers spearheaded by those from the short film circuit, but falls way short of being the best.  

Bottomline: Fast but not furious enough.

3/5

  

Sigaram Thodu

My review: Sigaram Thodu

Gaurav's "Sigaram Thodu" is an average routine commercial fare with the director using the theme of ATM robbery as just a icing which is too thin and too redundant. If you remove those scenes in which they have fairly well explained the modus operandi of the ATM robbery, the movie is a dud that has nothing new or interesting in it. 

The first half is almost a non-entity with a boring romantic portion in which the lead pair fall in love in a space of one week on a pilgrimage trip, yawn! Flickers here and there in the form of some terrific timing comedy from Satish are the only salvaging parts of the first half. Second half too fails to evoke any interest with each and every twists unfolding so conveniently that even those investigative movies of Jaisankar in the 60's and 70's look far more better than this one. 

After a successful "Arima Nambi", this is not a movie that Vikram Prabhu ought to have chosen. It is a poor selection of script and he fails to gain anything out of it. In fact in those scenes in which he comes in the cop uniform, one can only hear peels of laughter in the auditorium. His styling is totally clownish in this movie. Monal Gajjar has a pleasant face but acting talent is what she needs to hone a lot. It is sad to see Sathyaraj relegated to such cliched roles these days. Satish is good with his comic timing while Erode Mahesh has nothing much to do. 

It is one of those rare poor albums from D Iman in the recent times. He neither does anything of note in the background score as well. Vijay Ulaganth's cinematography is good and glossy. Movie is high on its production values with all the technical departments having done very good jobs. 

The Malayalam movie "Robin Hood: Prince of Thieves" dubbed into tamil as "ATM Thirudan" is a better movie that dealt with the theme of ATM robbery. When compared to it "Sigaram Thodu" is no where in the vicinity of it, either in the plausibility or the sensibility. 

Bottomline:  Way off the target 

2/5

Amara Kaaviyam

My review: Amara Kaaviyam

After his impressive debut with "Naan", Jeeva Shankar seems to lost a bit of steam with his second movie, "Amara Kaaviyam". Though the story is nothing new, it could have been spruced up with a better taut screenplay. But Shankar doesn't seem to have any grip on the screenplay which he allows to meander loosely, as result the impact the movie ought to have created fizzles out. The problem lies not only in the screenplay but also his direction, which somehow fails to engage the viewers. A filmmaker like Selvaraghavan could have had a field day with a story like this. 

"Amara Kaaviyam" is a routine teenage love story with a twist in the end which seems more forced into the narrative rather than the story coming to its conclusion. Movie for the majority of its running time lacks substance and feel artificial. Except for couple of touches here and there like the mature handling of teenage love by the parents of both side and a cop for once who is sensible and practical rather than the Tamil movie caricature, by and large movie doesn't boast of many scenes which could move you emotionally. Even the climatic portions that could have worked out terrifically gets bogged down by the insufficient emotionally connecting moments in the movie up-till that point. 

Sathya is good as the protagonist, but the scarcity of emotional and histrionic repertoire shows. Dove eyed Mia is a good find for Tamil cinema. She emotes well and has a good future. Movie has a largely unknown support cast but by and large they all have done terrific jobs themselves. Why Thambi Ramaiah, only the director and Ramaiah, himself can answer.   

Movie's USP is its music and Ghibran has once again done excellent job with it. All the five songs in the album are good to hear and pictured well by the director who also couples up as the movie's cinematographer. However, Ghibran's background score is jarring at many places.

On the whole, after watching this movie only thought that comes into one's mind is that potential for a great romantic drama is been wasted. 

Bottomline: Neither immortal nor a masterpiece. 

2.5/5     

Peruchazhi

My review: Peruchazhi

Arun Vaidyanthan's "Peruchazhi" has an intersting plot but the execution is that like the school kids' skit. Though he right away requests the audience to switch off the mobile and logic, the happenings are so juvenile that it would be difficult for any grown-up for that matter any kid with an IQ of more than 90 to savour this parody. Implausible situation, infantile scenarios and tomfoolery marks the two and half hour running time of this so-called political satire.  

Only saving grace of the movie is the dialogues which are witty most of the times and the people who gets to mouth it, Baburaj and Aju Varghese. They save this sinking ship from drowning and are the only reason why any sane person could sit through this inane movie. 

Mohanlal tries his might to stay afloat above all the ridiculous and  childish scenes which is quiet sad to see. A talented actor he is, it is bad that he has come down to this level. Wish he gets back on track from the dismal year he is having post "Jilla", "Mr.Fraud" and now this. Baburaj is the rock-star of the movie. He is terrific and keeps the audience in splits with his combination of slapstick as well as dialogue oriented comedy. Aju Varghese forms a perfect foil for him, the duo are just comical. Mukesh is once again typecast while Ragini Nandwani don't have much to do. Poonam Bajwa sizzles in a cameo. 

Arora's music is good, studiously follows the commercial cinema template with hero-worshiping rap-theme to boot. Arvind Krishna's cinematography is colorful and technically movie is of high standards.

On the whole, if one make no bones about lowering his/her intelligent quotient couple of notches below then "Peruchazhi" is the film for you. For the more saner people, SKIP is the word.

Bottomline: Nibbles away your brain !

2/5

Mardaani

My review: Mardaani

Pradeep Sarkar's "Mardaani" marks yet another comeback attempt for Rani Mukerji after her not so good returns in the box-office over the past few years. It is essentially a cop story that follows all template studiously with the theme of child trafficking thrown in for novelty. The theme though is topical importance and relevance the manner in which they have milked the issue for commercial purposes is despicable. The director known for his subtle portrayal has missed it this time in his endeavor to present a  commercially viable movie. 

Movie does has its moments, but they are few and far in between. The tempo also wavers and when actually the tempo needs to pick up, the director decides to go about it leisurely towards the end. As a result the movie fails to create the desired impact. The banter between the protagonist and antagonist make for riveting viewing in the middle with some witty lines.  

Movie is well served by terrific performances by its cast. Rani Mukrji spouts fire with her demeanor fitting of a tough cop. Her body language and acting is fine. It is Tahir Bhasin as the main antagonist Walt who steals the show. His casual yet spine chilling performance would sure make him get noticed by the connoisseurs of cinema. Rest of the support cast have performed well to perfection.  

Technically movie is sleek and well made while the talented yet underrated Karthik Raja gives a terrific background score which enhances the tension, the predominant mood of the movie. On the whole, "Mardaani" is a full blown commercial action pot-boiler masquerading as a movie with rich social message.

Bottomline: Brusque and blunt. 

3/5

Salim

My review: Salim

After the impressive debut with "Naan", Vijay Anthony is back with his new movie "Salim", named after the character's name he played in the former. Written and directed by debutant N.V.Nirmal Kumar, "Salim" is an action thriller, part vigilante drama and part hostage drama. When you look at it as a movie in general there is not much to complain but naturally when Vijay has set his bar high with his debut one must say his second movie doesn't live up to the expectations he has created for himself. Somehow one feels there is some lacunae in the movie, may be sluggish screenplay or loose direction or contrived proceedings. 

Movie is sluggish in its first half, pretty much nothing happening with the events proceeding at a labored pace with very few moments that evoke your interest. By the turn of second half things does get spruced up but the contrivances of the screenplay and tiring overdose of action masala moments mars the overall impact. The main brownie aspect that saves the movie is its dialogues which are razor sharp, evocative and witty as and when the situation demands. Also the director could have opted for a more subtler presentation instead of the over-the-top almost tollywoodish spicing that he ends up with. 

Vijay Anthony has improved leaps and bounds in his acting and dialogue delivery. His eyes has become more expressive but he is still stuck in his comfort zone. He need to take up roles that can help him explore more shades other than his favorite grey. Though there is virtually no big name in the support cast, the actors have done their parts well. Aksha Pardasany, though looking plump is quiet impressive with is her emotive skills. Vijay Anthony, the composer disappoints big time. There is not even a single track which is impressive. However he redeems himself with terrific background score that is more of an extension of his "Naan" theme. 

Movie is technically good, M.C. Ganesh Chandra helming the cinematography with his penchant for experiment with the lighting, especially in the second half. N.V.Nirmal Kumar shows glimpses of his potential here and there, but he needs to be more consistent to weather the competitive field Tamil cinema has become off late. 

On the whole, "Salim" is an average thriller that could have been even more impressive if only the makers have opted for sublimity over crudity. 

Bottomline: One time watch. 

3/5   

Munnariyippu

My review: Munnariyippu

The writer-director who is also the cinematographer of the movie, Venu gives an indication of things to come right at the outset. The initial 3-4 minutes of "Munnariyippu" that one gets to see on screen is a dead lizard being dragged by some 15-20 ants on a wall as the titles appear. By this long shot which is terrifically shot the director achieves two things at one stroke. First he prepares the audience for the pace at which his narration is going to be for the next two hours as well as he underlines the fact that one character in this movie is going to be dragged by some others into something he/she is "dead" against. 

Movie is one of those rare ones where you experience rather than watch things unfold on screen. As the movie is told in the point of view of Anjali Arakkal played by Aparna Gopinath the audience too travel along as she experiences her thirty days with Raghavan, convicted for life who just gets out of prison reluctantly. We experience the surprises, expectations, happiness, frustrations that she goes through in her endeavor in making him write his life story for a publishing house. Half an hour into the movie the predominant emotions that Anjali and in turn the audience we go through is that of frustration by the activities or rather the lack of it from Raghavan. The director has stuck gold in getting his pace of storytelling exactly for the right emotions to resonate in the audience. As a result the end is something that would jolt you out of your seat as it does for the movie's female protagonist. 

 Mammooty has once again proved that all he needs is one shot to usurp all the accolades in his favor. The power-packed performer gets his due in the last few seconds of the movie which is more than sufficient for you to get awestruck. Who else can make your spine chill with such a casual smile in the end. Aparna Gopinath is actually the one who calls the shots right through the movie which only a capable actress like her could manage. 

"Munnariyippu" is a movie that needs its audience to invest patience in ample measures for them to enjoy the experience.It is excellent that the writer, director and the cinematographer of the movie is all the same person. Venu has successfully translated the written work on screen  and has presented to us a visually appealing movie with lots of long shots that captures the emotions of the actors so tellingly yet in the most unassuming manner. Though the movie gives you a art-house feel, it is by far one of the most terrific visual movie where the dialogues take a back seat. Bijibal's background score further accentuates the movie's eerie feel.   

On the whole, "Munnariyippu"  is an experience not a movie which is a throwback to the bygone golden era of Malayalam cinema. 

Bottomline: Awestruck !!

4/5 

Kathai Thiraikathai Vasanam Iyakkam

My review: Kathai Thiraikathai Vasanam Iyakkam

R.Parthiban is one of the few auteurs who graces Tamil cinema. Almost all his movies are original not resembling the other in any aspect whatsoever. And yet he has his own indomitable style of presenting the story and especially the dialogues almost have his unique quirk and wit, rich with wordplay all along. Many of his movies like "Houseful" and "Kudaikul Mazhai" were way ahead of the times at which they were released. One has not seen delusions and hallucinations so imaginatively portrayed as he did in "Kudaikul Mazhai" as far as Indian cinema is concerned. When such a talented auteur comes out with his movie, cinema connoisseurs are bound to look forward to it whenever it happens. "Kathai Thiraikathai Vasanam Iyakkam"  KTVI is his latest movie release which he has written and directed comes out with a quirky tagline " a film without a story"! 

KTVI is almost part autobiographical (can be of anyone's who aspires for original work in Tamil cinema) and part wishful. The fact that Tamil audience are warming up-to all sorts of new ideas in Tamil cinema must have emboldened the writer and director in Parthiban to have a field day with making the KTVI which shows on screen. He goes firing on  all cylinders right from the first frame until the end. There is no hesitation on his part be it the screenplay with all his non-conformity to the traditional template or his direction steering the movie in a lively light-hearted manner. As always his dialogues are terrific, almost warranting a second viewing to enjoy the missed ones. 

When so much of intelligence oozes in every frame it might get too overwhelming for a regular movie watcher. But uncompromising on his work Parthiban has manfully stuck to his strengths with the backing of  many familiar faces from the glamour world. First half is a breeze, never a dull moment, jets past you in a whiff. Second half gets a bit dragging towards the end, but the restlessness is more an offshoot of the story-line rather than the laziness of making. And the ending is brilliant, testimony to the confidence he has on the contemporary audience.  

Other than Parthiban, movie belongs solely to Thambi Ramaiah, who time and again surprises you with his enormous talent, be it comical or otherwise. Here too he is terrific in his comical avatar and just when you get used to his comical talent he sweeps you off your feet with that one scene in the hospital with his histrionic ability. Without him the movie would not have been half as entertaining as it is. Other than him among the newcomers, Vijay Ram as Suruli aka Murali impresses with his comical timing and Akhila Kishore with her acting abilities. Others are just about adequate. 

Technically movie is without any glitches while background score of Sathya is just about adequate. 4 songs composed by 4 music directors don't pass muster.

On the whole, KTVI is yet another promising movie that defies the Tamil cinema convention, be it in the storyline or the making style. It would be an utter shame if a movie with such cerebral inputs gets floored by those made by harebrained makers armored with marketing blitz.

Bottomline: An interesting novel attempt is an understatement

4/5

Anjaan

My review: Anjaan

When the top two, Vijay gives a "Jilla" and Ajith, a "Veeram", would the third in the line Suriya lag behind. He goes down all guns blazing (quiet literally at that !) with his Lingusamy directed "Anjaan". You would know that there is something seriously wrong with a film if no one laughs at the "director-intended" comedy scenes but the whole theater is in raptures during the "director-conceived" so-called "mass" scenes. Movie is so bad that even Suriya who was successful in improvising a pathetically written  "Singam 2" into somewhat palatable outing with his histrionics fails to even salvage a modicum of credibility this time.  

Writing is that bad and terrible that it is hard to describe. Writing is more about trying to fill in the gaps in between few average songs and generous dose of action sequences. 15 minutes that Lingusamy criminally wastes post interval starting from the Brahmanandam's "so-called" cameo (conscientiously without any disrespect to the term "cameo") up-till the end of the bromantic speech between the two lead male protagonists interspersed with a dance medley ( serious creative drought evident here) is one of many such con-act that the makers have pulled off robbing the viewers of their precious time and money. The movie would have well gotten over in 20 minutes and still it would have been excruciatingly bad and boring. 

  When is the last time when every scene, every dialogue and even the locations (who would have not thought about the Golconda fort for a climax showdown) are guessable to ridiculous extent. The "so-called" twists and turns are not just down right silly but infantile to the extent that one can't but laugh at the silliness of it all. Right from the start to the finish not even a second that you feel that there is some sincerity, leave alone creativity. I dare challenge anyone to enlighten me at least one frame that is original.

Trying to catch up with your contemporaries is good but falling into the same stinky pit that they have recovered from is foolishness. Vijay and Ajith seem to have learnt their lessons (in spite of such dreadful Jillas and Veerams now and then) realizing that content is the king and they are just mere mortals scouting for better scripts and makers. But Suriya seems to have regressed from the days of " Kakka Kakka", " Ghajini" and "Ayan" following the freak success of his "Singam" and its sequel. He is not convincing at all as a Mumabi based gangster in this flick, may be an offshoot of poor writing and direction or his own disinterest. 

After her disastrous career so far in Tamil industry Samantha has taken recourse to skin show. Her histrionic abilities are as much as the cloth covering she gets in this movie. Vidyuth Jamwal is wasted in a hackneyed role. Each and every north Indian actor who is part of this movie has terrible lip-sync giving a feel of watching a poorly dubbed movie (even otherwise you a get a feel of watching a poor-man's Telugu masala movie). 

Usual solace in a Lingusamy movie, the songs too are poor this time. None of the songs composed by Yuvan Shankar Raja strike a chord with the audience. His background score is platitudinous. This movie don't deserve a cinematographer of the stature of Santhosh Sivan. He seems to have acknowledged that and has strictly and selectively redone what he did in "Thuppaki". 

On the whole, "Anjaan" is one of the most hackneyed movies of the year, comical for all the wrong reasons. 

Bottomline: A reviewer's dream of shredding a movie to pieces.

1/5

Sri Talkies in the "Sarabham" teaser

Sri Talkies gets acknowledged by the makers of the Tamil movie "Sarabham". Watch the below video @ 0.40 secs. 

Into the Storm

My review: Into the Storm

"Into the Storm" is yet another serving of a disaster movie which is an ode to the 1996 blockbuster hit "Twister". It has come armed with advanced computer generated visuals of the tornado and its aftermath which is just jaw-dropping. What it gained over the "Twister" in the form of its terrific making and fascinating visuals, "Into the Storm" looses it when it comes to an engrossing tale and power-packed acting. The story is as cliched as you can guess with a all sorts of cliched characters and contrived situations. And to make the matters worse, the acting is not that promising.

A hard-nosed storm chaser who risks it all, his reluctant understudy, a confronting weather analyst, a straightforward vice-principal of a local school, his sons - one an introvert and another an extrovert, couple of adrenaline junkies....yes you have them all playing their parts amidst the marauding tornados. They get themselves into dangerous of situations and invariably get themselves out of trouble as well. And it is quiet astonishing that every-time the tornados miss the lead bunch like invariable the bullets evade our action heroes. 

Except for its eye-catching visuals and awesome technical wizardry, movie fails to offer anything as much as the soft skills goes. As a result all the the hardwork that the technical team has put does down the drain due to lackluster writing and pretty ordinary performances. 

On the whole, Steven Quale's "Into the Storm" is strictly for the adrenaline junkies, who don't just bother about  the soft skills.

Bottomline: Into your nerves. 

2/5 

Humpty Sharma Ki Dulhania

My review: Humpty Sharma Ki Dulhania

A tribute to the all time cult romantic blockbuster "Dilwale Dulhania Le Jayenge"(DDLJ), Shashank Khaitan's "Humpy Sharma Ki Dulhania"(HSKD) follows the route laid by the former studiously adapting itself now and then with the sense and sensibilities of today's generation and current trend of movies. Thus it can be said it is an updated version of DDLJ but does it create the same impact the former managed is a big question to ponder over. And the answer is no but yet it is not a bad film either.   

Shashank has done a pretty decent job as the script writer and director presenting to us a breezy romantic comedy that is a throwback to the early 90's when the kinds of DDLJ, "Kuch Kuch Hota Hai", "Dil To Pagal Hain" ruled the roost. He keeps the background strong from those days of lively romantic comedies which gave ample importance to families and relationships but also spices the proceedings up with the contemporary mores and value systems. In the end the two hours that one spent watching the movie just breezes by with qualms absolutely whatsoever. 

Varun Dhawan impresses with his subtle performance though there is ample scope for boisterous histrionics he has dished to us so far. He has shown that he is not just a good comedian but also has potential in him to be a good actor. Alia Bhat just seems to have hit the purple patch in her career so soon. Whatever she touches seems to turn gold and this time too she is too good in her role of a typical Punjabi "dulhania " Kavya. Ashutosh Rana for a change gets a pleasant role who is reasonable instead of one of those cliched roles that he has been getting recently off-late. 

On the whole, "Humpty Sharma Ki Dulhania" is one of those simple romantic comedies that you will enjoy with your loved one no matter how cliched it may seem.

Bottomline: DDLJ reboot 

3.5/5

Avatharam

My review: Avatharam

"Avatharam", directed by Joshiy starring Dileep and Lakshmi Menon is a bland action thriller that has nothing new to offer. Age old revenge drama with stale romantic -comedy of the first half and cliched action thriller in the second half fails to get off the mark from the word go. Nothing in this movie is new to be seen. Dileep tries to spice up his role from inspirations from his past successful movies but sadly nothing much moves the audience. It is as if everyone has just gone through their motions when they were making this insipid affair.

Other than the distracted Dileep, movie also has Laskhmi Menon riding on her terrific form in Tamil industry in the most banal role of  her career so far. She has sparse screen-space and that too is under-cooked. Others in the cast perfectly fit the contrivances that the writer Vyasan Edavanakkad has let out unabashedly. Technically movie is good, well shot by R.D.Rajasekhar. Deepak Dev's music doesn't have anything to go by as far as the novelty is concerned.  

After the successful "Run Baby Run", Joshiy seems to have stuck on his trough with this one being the third straight washout from him. On the whole, "Avatharam" is boring movie. Period.

Bottomline: A tepid affair. 

2/5