Ko Movie Review

Headline. Scoop. Byte. Edition. These words are familiar with all journalists. For a layman it's the newspaper that he reads finally counts. A photojournalist-turned-director, K V Anand, with 'Ko', has rendered a movie that is like reading a newspaper fresh and folded very early in the morning from page one till the last.

Journalists are until known to be portrayed in a cliched manner in Tamil cinema, wearing a pyjama kurtha, spotted with a beard carrying a long shoulder bag. Times have changed and so are the lives and struggles of journalists.

With 'Ko', Anand has turned the arc light on the unsung heroes of modern India, the neo-journalists, their dedication and passion towards the profession.

Anand has proved his mettle coming with intense thrillers with great detailing, thanks to writers Suba in his side as it was evident in 'Kanna Kandein' and 'Ayan'.

'Ko' speaks about power struggle and press freedom, laced with all commercial ingredients in an interesting manner. All credits should go to the script and screenplay. Tautly written, there are hardly any logical loopholes.

Be it a hardworking scribe or a photographer who are chasing sensation news, a power-lust Chief Minister, or an opposition leader, or a youth who wants to change the political system, all characters do have a say in the film. Anand has woven all of them craftily.

The movie revolves around Ashwin (Jeeva), who is a talented photographer in a Tamil daily Dina Anjali. He is the sought-after lensman in his newspaper for his images speak a thousand words and bring awareness.

There are a couple of other journalists in the same media house- Renuka (Karthika), who covers sensational events and entertainment -in-charge Saro (Piya). They develop an affinity for Ashwin.

A battle begins in Tamil Nadu as Assembly elections are announced. It becomes a direct war between Chief Minister Yogeswaran (Prakash Raj) and opposition leader Alavandan (Kota Sreenivasa Rao). As typical politicians, as they are portrayed, they do everything under the sun to come to power.

But Renuka and Ashwin's brilliant investigative reports and photographs, help a third force led by youth Vasanthan (Ajmal) emerge the front-runner. He is a symbol of modern Indian youth who believes in clean politics.

At an election rally of Vasanthan, a bomb goes off killing Saro. Vasanthan goes on to win the polls. Now the onus falls on Ashwin and Renuka to find the real culprits behind the attack. Get ready to watch an unpredictable climax.

Jeeva is impressive and played his part exceedingly well. He looks a typical photojournalist. His body language and dialogue delivery are worth a watch. An intense performar, Jeeva pulls it off with ease.

Karthika as Renuka brings out the nuances needed for the role well. She has not exaggerated. She downplays her emotions to gel with the character. Ajmal is a revelation as an aspiring politico Vasanthan. His looks compliment the character.

The veterans Prakash Raj and Kota Sreenivasa Rao have played their part well. They have given right emotions needed for the roles. Piaa in the supporting character is adequate. Watch out for Sona in a cameo. Chinmayi's dubbing for Karthika is apt.

Harris Jayaraj is a major attraction. All his songs pep up the environment. 'Ennamo Yedho...' is pick of the album.

Anand deserves all accolades for rendering a brisk entertainer that is devoid of cliches. Racy all through, it is a movie that is worth a watch, if you are really not bothered about logic at certain places. 

Mappillai (2011) Movie Review

Can a Rajnikanth movie be remade with same aura and feel? Will it reverberate with same energy and gusto? Will it charm the audience? Partially yes seems to be the answer. 'Mappillai', a remake of yesteryear Rajinikanth flick carrying the same title, is a perfect treat for the front-benchers, oozing with gusto and energy.

Remake is always a risky affair. No one tries to remake a failure attempt and hence the success of the original naturally becomes the burden on the remake. Director Suraj has taken it in his stride and ensures all charm is not lost.

More of Rajinikanth meeting Dhanush, the movie's success rides on the latter not trying to imitate the former anywhere in the movie. He is himself and ensures that he gives what his fans exactly expect out of him.

There is tremendous pressure on Suraj's shoulder for at least half the movie-goers would have watched the original and a comparison is bound to be there. A shrewd Suraj has made some changes to make it more contemporary and lively.

With Vivek giving Dhanush company, there is no dearth for humour all through. If Sri Vidya was an arrogant mother-in-law in the original throwing all challenges at Rajini, Suraj has brought Manisha Koirala for the role, bringing some freshness.

Come to the story, Saravanan (Dhanush) is a do-gooder, who is soft-spoken and admired by one and all. He comes across Gayathri (Hanshika Motwani), daughter of arrogant business woman Rajeshwari (Manisha Koirala) and falls for her.

Coming to know of their affair, Rajeshwari decides to get them both married. The reason is- she is keen on getting a son-in-law, who will always do what she wants and be under her control.

But she in for a shock when she comes to know that Saravanan has a past. He is a ruffian and is feared by one and all. Now she plans to halt all plans, while Saravanan takes up the challenge and ensures that he end up marrying his ladylove.

It’s now a cat and mouse game between Saravanan and Rajeshwari. Then there is one Style Chinna (Vivek), with his own set of friends (including ‘Cell’ Murugan), who is desperately behind Gayathri and tries to win over her love.

Dhanush is the man of the match. He takes the whole burden on his shoulders and passes the difficult test of enacting a famous role played by Rajinikanth with consummate ease. He is good at humour and those scenes where he challenges his mother-in-law. A wholesome role which the actor does exceedingly well.

Cheers to young Hanshika Motwani. Cute and bubbly, she has a meaty role to play in her maiden venture itself. A look-alike of Kushboo, she does gel with the character. Watch out for Manisha Koirala. She performs with a steam and vigour. As a young aristocratic mother-in-law, she is impressive. She brings out her agony, arrogance and anger well.

Vivek as Style Chinna brings the roof down with laughter. His funy-looks coupled with crazy dialogue delivery are a pleasure to watch. With Dhanush, he recreates the magic of 'Uthamaputhiran'.

Music by Mani Sharma is an added strength. There are a couple of racy numbers and it peps up the proceedings, with the highlight being 'Ennoda rasi...' Sathish Kumar's cinematography is rich and glossy and lives up to the theme, while editing by Kishore is crisp.

Produced by Nemichand Jhabak and Nemichand Jhabak, 'Mappillai', presented by Sun Pictures, is warm, bright and bubbly. If you are ready to forget that deja vu feel which prevails in many a place, the film is no doubt a big summer treat.

Ponnar Sankar Movie Review

It is rare that movies are made based on historic novels. For it needs not just huge labour but enough resources. However, Thiyagarajan has brought on screen what is one of popular novels in Tamil - Ponnar Sankar, penned by Chief Minister M Karunanidhi.

It is a valorous tale about twin brothers, who fought for their motherland. Produced and directed by Thiyagarajan, the movie features Prashanth playing both the characters- Ponnar and Sankar.

A period film demands huge ensemble of star cast, lavish sets and immense research. Taking the game on, Prashanth and Thiyagarajan have managed to come out with a movie that is more a desi version of ‘Brave Heart’.

With story, screenplay and dialogues by Karunanidhi, Thiyagarajan has given them good shape on screen. Thankfully with seasoned artistes in his side, he has passed out in flying colours. Karunanidhi's dialogues are colloquial and touch relevant contemporary political and social issues. There he scores a point.

The movie begins with the wedding of Thamarai (Kushboo), the daughter of King Periyamalaikozhundhu Gounder (Vijayakumar) arranged with Mandhiyappan (Prakashraj), a king of neighbouring country. Enters Nellaiyankondan (Jayaram), Thamarai's lover and he walks away with her.

Her parents disown her and drive her out of their kingdom.While leaving she throws a challenge at her brother Chinna Malaikozhundhu (Ponvannan) that he would come to their doors one day seeking to marry her two sons for his two daughters.

As years go by, Mayavar (Nasser), a chieftain in the village, comes across twin brothers Ponnar and Sankar (both Prashanth), who are students of Rakki (Raj Kiran). Good at heart, Ponnar and Sankar are valorous and they voice for the sufferings of poor.

One day, they save the sisters Muthayi (Pooja Chopra) and Pavalayi (Dhivya Parameshwaran) from death. Both happen to be daughters of Chinna Malaikozhundhu.

Impressed with their valour, their parents agree for their marriage with Ponnar and Sankar. A flashback reveals that Ponnar and Sankar are Thamarai's sons and Rakki had taken them with him to save them from Mandhiyappan when they were born.

Coming to know that Ponnar and Sankar are alive, Mandhiappan hatches a conspiracy and ensures that Kali Mannan (Nepolean) and Thamarai's father help him in killing them.

Eventually a war is fought. The intense battle ensures that good prevails over evil. Watch out there are the likes of Prabhu, Sneha, Lakshmi Ramakrishnan and Seetha among others in the cast.

Seemingly inspired by ‘Apocalypto’ and ‘Brave Hearet’, Thiyagarajan has ensured battle scenes are shot grand and great. The graphics, supervised by Prashanth himself, is highlight of the movie, though at places look amateurish.

Prashanth, who makes his comeback, has done it doubly well. As a proud prince, he pours out right emotions. In romance and battle scenes, he leaves his mark. His previous experience stands him in good stead.

Kushboo is the pivot around whom the movie revolves. She is good at it. So are the likes of seasoned artistes Nasser, Prabhu, Nepolean, Sneha and Rajkiran among others who chip in with their best.

Unfortunately Ilayaraja disappoints with his music. The songs fail to enter our ears. But he compensates with his brisk background score. Cheers to art director T Muthuraj. He has created huge palace, fort, battle field before our eyes. Shaji Kumar captures them well on his lens.

On the flip side, the movie has many dragging moments. Too many characters come and go without leaving a mark. The first half proceeds at quick pace, but the latter part of ‘Ponnar Sankar’ stutters and staggers.

Nanjupuram Movie Review

Movies made on snakes always attracted attention in Tamil cinema. Taking cue from them, debutant director Charles, in the company of popular television actor Raghav, has woven a script that is entertaining and enthralling in parts.

‘Nanjupuram’ is more of Anaconda meeting Rama Narayanan movies. Interestingly, the distribution rights of ‘Nanjupuram’ have been bagged by Sri Thenandal Movies, a company backed by Rama Narayanan himself.

There are some interesting visual treat and pulsating scenes that sustain our interest. Raghav, besides playing the lead role, has also made his presence felt as a music composer too.

Monica plays the female lead. Charles’s intention to render a taut thriller should be appreciated. But at the same time, we should also say that it is the execution that goes haywire.

Magudeswaran's dialogues are razor sharp at places, especially while taking a dig at caste system which is still active at many places of the State. Also, the makers have not gone too superstitious, for a movie on snake would mean too much of it.

The film is set in a village called Nanjupuram. Ridden deeply in caste system, there is often trouble between the upper caste and lower caste in the village. Also deeply rooted in superstitious belief, the villagers believe that anyone who hurts a snake there will get killed in 45 days.

As it happens, Velu (Raghav), an upper caste youth falls in love with Malar (Monica), a lower caste girl. One day, he attacks a snake and was asked by villagers to stay away for one-and-half month. But his love towards Malar makes him to elope with her. What’s next is the climax.

All actors, including Raghav and Monica have played their parts well. Due credit should go to Raghav. He is cool and casual. He has taken all the responsibilities to deliver hie best. Monica plays a de-glamourised character. She has a meaty role to do. Others in the cast are adequate.

Unfortunately, the script misses some novelty. Had Charles blended more of it and reduced cliches, ‘Nanjupuram’ would have been different.

Sattapadi Kuttram Movie Review

You can call S A Chandrasekar the legal expert of Tamil cinema, for the director is known for taking a dig at potholes of legal system with his movies. After a break, the filmmaker is back in his familiar territory, with ‘Sattapadi Kuttram’.

SAC has made the film with two agendas, one to criticise the ruling party of Tamil Nadu and the other to promote his son Vijay. Concentrating more on these two things, the director has failed to ensure that the script is free of loopholes and lag.

In many a scene, one would wonder whether it is a feature film or a propaganda movie made by the opposition party. That too with Assembly elections nearing, the intentions of the director are clear from scene one.

A death convict Thangarasu (Vikranth) and drug addict Surya (Harish Kalyan) are kidnapped by a man and his gang. As scenes unfold, it is revealed that the brain behind these things is Chandrabose (Sathyaraj), leader of a revolutionary movement.

Chandrabose runs a parallel government in the forest and instills revolution in the minds of youngsters. His aim is to clean the corrupt system and to infuse fresh blood in the society.

One day, he kidnaps important persons from the judiciary, media, bureaucracy and police departments and tells them the need to bring in the change. They get convinced when Chandrabose ensures protection to their family members.

Rowdys get killed and corrupt politicians are punished. Money seized from evil politicos (which runs into several crores of rupees) is distributed equally to every family in the country. An egalitarian society prevails.

Sathyaraj lives up to his sobriquet- Puratchi Thamizhan. In Che Guevara costumes, he ensures that the audience too goes into ‘revolutionary mode’. Vikranth is good while Bhanu, Harish Raghavendra, Livingston and A Venkatesh have meaty roles to play.

Vijay Antony has remixed ‘Rathiri nerathu poojaiyil….’ in his typical style. Anjaneyalu’s cinematography is okay while the highlight of the film is dialogues by V Prabhakar (of ‘Pokkiri’ fame).

On the whole, there is no wrong in the idea behind making the movie. But cogency between scenes and logic in the script could have ensured that ‘Sattapadi Kuttram’ is as racy as claimed.

Kullanari Koottam Movie Review

The ‘Venilla Kabbadi Kuzhu’ team is back with renewed vigour and enthusiasm in ‘Kullanari Koottam’, which is a breezy, feel-good film. Sri Balaji, a former associate of Suseenthiran, has managed to weave an entertainer that is worth a watch.

A light-hearted movie sans any punchline, weepy tale or crass comedy, ‘Kullanari Koottam’ may impress the masses. Knowing precisely what the audience want, the director has managed to get all elements right in his debut movie itself.

Vishnu, who proved his skills handling a comical role in ‘Bale Pandiya’, does take the whole burden on his shoulders and deliver goods. He is at ease all through and passes the muster.

Be it romance or situations where he gets into trouble for no fault of him, the actor is at his best. His body language and dialogue delivery fit very well to the character that he plays.

Giving him good company is Ramya Nambeesan. She, unlike her earlier films, plays a bubbly next-door girl. She has more to do instead of the routine cliched commercial heroine's role.

The actress comes all through the film and does leave an impression. Then there are a whole lot of artistes including Appukutty and Suri among others who stole the show in ‘Vennilla Kabbadi Kuzhu’.

In a nutshell, the movie is about a callous youth who falls in love with a girl. He is thrown a challenge to hold his lady love’s hands. How he achieves the mission is what the film is all about.

The storyline may not be new to Tamil cinema. But the path taken by Sri Balaji is interesting. Vetri (Vishnu), an MBA graduate in Madurai, is waiting for a job. He lives in a happy family where his father is a teacher and his brother works in a private firm.

Interestingly, his father is totally against policemen and he wants his son to even keep off from going to a police station for any emergency. Meanwhile, Vetri's small mistake in recharging his father's mobile phone lands him in contact with one Priya (Ramya Nambeesan), a Vellore girl who pursues her studies in Madurai.

After initial acquaintance, both fall in love. Priya’s father is a police officer and in their town, every family-member wants to send their wards to Indian military service. Priya’s dad too wants his son-in-law to be either from military or a police officer.

Now Vetri takes up the challenge. He sets out on a mission to Chennai and manages to get a group of friends with whose help he plans to achieve his goal. But corrupt police officials come in between his dream. The rest is how Vetri, along with his friends, thwart the cop's plans and achieve his goal.

The romance between the lead pair is interesting. Selvaganesh’s catchy music is the highlight of the movie. ‘Vizhigalile Vizhigalile…’ is a song to cherish. Other technical departments too add value.

Sri Balaji has managed to cast some fresh faces for key roles. They resemble those living next-door, leaving an impact straightaway. The director deserves a special pat for avoiding double meaning dialogues and sticking to the story.

Kudos to Sri Balaji and Vishnu for rendering a movie that is entertaining and light without any overdose of emotions. If you are not looking for a serious stuff, ‘Kullanari Koottam’ may be the right choice to spend few hours of your weekend.

Muththuku Muthaga Movie Review

At a time when directors run behind racy themes and commercial cocktails, filmmaker Rasu Madhuravan is a rare exception. In 'Mayandi Kudumbathar', he touched up on the need for joint family and proved successful in wooing women audience to cinema halls. With 'Muthukku Muthaga', the director is back to render a film for his core audience - womenfolk. Here again, he speaks about family ties, cultural and ethical values and the role played by parents in shaping the lives and characters of their children. He not only narrates the story in an engrossing manner but ensures that it has enough elements in it to appease audience. With young and seasoned artistes playing part, Rasu Madhuravan has ensured that all comes good in Muthukku Muthaga, but for a slow narration. The theme may been the one we would have seen in yesteryear Bhim Singh movies. But as they say, as long as films exist, there is no stopping for love and family stories. Saranya and Ilavarasu have five sons. With his minimal earnings, Ilavarasu showers all love and affection on them and grows them up. As the years roll by, the sons grow up and have their own course of lives. What happens in one tough situation is what the movie is all about. Saranaya and Ilavarasu are tailor-made for the characters. They have got under the skin of their roles and given their best. The likes of Vikranth, Natraj, Monica, Oviya and Veer Samar and others play their part around Saranya and Ilavarasu. In ensuring that the film has enough emotional elements, Rasu Madhuravan has lost to infuse some pace in the script, which at times make the movie resemble a melodrama. Specially when the second half begins, there seems to be some brake applied on the momentum. The leisure in the form of Singam Puli's evokes laughter to an extent. The songs too are like a brake on the movie's progress. But Rasu can be appreciated for the fact that he has delivered what he has conceived. No glam scenes no double meaning dialogues, but a tale that speaks on the need to respect our parents, who toil hard for the welfare of their wards. For those who love melodrama stuff, 'Muthukku Muthaga' may be a right destination.

Singam Puli movie review

Doing double role is always a delight for actors. From the days of MGR to Rajinikanth, Kamal Haasan till the contemporary heroes, the craze to play two characters in one film is immense.

Joining the list is Jeeva with ‘Singam Puli’. As the title suggests, it is the tale of a ferocious battle between brothers (both played by Jeeva). Obviously it has to be between the good and the bad.

Debutant director Sai Ramani seems to have been inspired heavily by the likes of ‘Vaali’ and ‘Azhagiya Thamizh Magan’ and laced it up with few moments from ‘Manmadha Leelai’ to render a commercial cocktail in ‘Singam Puli’.

Jeeva who has a penchant to try his hands at different themes in Tamil cinema has gathered guts to do a double role. He has taken the task on his shoulders and gives a matured performance.

The actor manages to bring out the subtle differences between the two roles with consummate ease. Especially as the lusty younger brother Ashok, Jeeva impresses. Then there is Divya Spandhana, Santhanam and Ponvannan among others to give him company.

Siva (Jeeva) sells fish in a market, while his younger brother Ashok (Jeeva) is an advocate. The elder brother is honest and straight-forward while the younger one is a spoilt brat, pampered by their parents Vedachalam (Ponvannan) and Muthulakshmi (Kuyili).

The parents believe Ashok is sincere and obedient and always chides Siva. As it happens, Ashok in the company of friends including Bujji Babu (Santhanam) spends his time loitering behind girls.

He is a Romeo in the sense he manages to pull to the bed all women he comes across. Then there is Swetha (Divay Spandhana) who is in love with Siva. As it happens Ashok in the pretext of love spoils the life of one Gayathri (Soundarya). She eventually dies.

Coming to know that his brother is behind the crime, Siva goes to court but could not prove that he is guilty. Now a game begins between the two. Who emerges triumphant forms the climax.

Jeeva has done his part well. He is there giving his best in every frame. He is honest and straightforward as Siva while brings the right variation as Ashok.

Divya Spandhana appears briefly and has a song with Jiiva. Soundarya tries to fit in the role with great difficulty. Santhanam is entertaining in parts. But his double meaning dialogues could have been avoided.

Mani Sharma disappoints with his muical score. They are loud and forgettable. Balasubrmanaiam's camera is soft. The major lacunae in the movie is its length. The second half is too draggy and needs an urgent trimming.

Then there are many scenes towards the climax that are too predictable. Also songs put a brake on the movie's progress. Produced by S Parthi and S S Vasan, ‘Singam Puli’ gives one a deja vu feel.

Bhavani Movie Review

Having seen Sneha playing a girl next door in her earlier films, ‘Bhavani’ comes as a surprise for all her fans. She gets into the boot of Vijayashanthi to play a powerful police woman in this remake of ‘Vaijayanthi IPS’. There is crime, action, politics and of course sentiment in ‘Bhavani’, directed and produced by Kiccha.

The movie speaks about a valourous woman who fights the evils in the society. It has enough enthralling moments, but Kiccha seems to have missed out the opportunity on weaving all essential ingredients together to make it an engrosser. For the movie proceeds in predictable way in most parts.

Sneha dons her role with dignity and right intensity. She brings out the anger that one would normally associate with lead actors playing tough police officers. Then there are seasoned campaigners like Kotta Sreenivasa Rao, Delhi Ganesh, Raj Kapoor and Sampath Kumar among others in the cast.

Bhavani (Sneha), an honest police officer in Hyderabad, is posted as Assistant Commissioner of police in Tirunelvei upon the request of Tamil Nadu government. The town is controlled by Sivalingam (Kotta Srinivasa Rao), a rich and influential baddie and an aspiring politician. He indulges in all unlawful activities.

Bhavani resolves to put an end to all his acts. Meanwhile there is one Surya (Sampath Kumar), who voices against Sivalingam. As it happens, Sivalingam's son Ranjith (Aryan) plays spoilsport in the life of Bhavani's sister. Efforts to prove him guilty by Bhavani end in vain.

Now a conspiracy is hatched by Bhavani in the company of Suriya and Ranjith gets killed. An enraged Sivalingam takes Bhavani head-on. The cat and mouse begins that ends well.

It is a Sneha’s show all through. The actress is at her best donning the khaakhi. She is agile, fit and active. Especially in stunt sequences, she is at ease. As usual Kotta Srinivasa Rao speaks from his belly, and oozes menace in his eyes. Then there is Sampath Kumar playing his part well. Ilavarasu and Delhi Ganesh add value.

Dhina has come up with some racy songs while Boopathy cranks the camera well, especially the stunt sequences. Due credit should be given to ‘Thalapathy Dinesh’ who has choreographed action scenes.

All said, Kiccha has rendered a movie that has a familiar theme. Had he concentrated more on screenplay, ‘Bhavani’ would have been more trim and fit.

Seedan Movie Review

Director Subramaniam Siva, who touched the dark shades of life in Chennai in his last ‘Yogi’, has treaded a cool and a casual path in ‘Seedan’. A remake of Malayalam entertainer ‘Nandanam’, ‘Seedan’ is a breezy venture which also tells a message or two on human relationships.

With Dhanush doing a cameo, the movie comes as a treat for those who love to watch time-pass popcorn entertainers, that too with whole family. Slow at places, there is no denying that the script is steady too.

A romantic theme never fails to appease masses. If it is blended with a family drama, the delight is double. That is what ‘Seedan’ is all about. Ananya and newcomer Krishna are lover couple and with Dhanush playing the saviour of their affair, it is fun and joy throughout.

Subramanaiam Siva deserves to be complimented for making necessary changes in the script to suit Tamil audience. He has ensured that the grip is not lost anywhere in the story.

Thanks to Dhanush making entry in the second half, the movie picks up momentum to ensure there are no big dull moments anywhere from the interval.

Mahalakshmi (Ananya) is a maid in the huge bangalow of Amirthavalli (Sheela), where she takes good care of the latter. An ardent devotee of Lord Muruga, Maha has a dream of marrying a boy of her choice.

Life takes a turn when Mano (Krishna), Amirthavalli's grandson enters the house for a vacation. Maha is surprised because he is the man who comes in her dream and falls in love with her.

A twist in the tale is Mano’s mother (Suhasini) urging him to marry her friend's daughter. When a shocked Mahalakshmi offers prayers to Lord Muruga, from nowhere enters Saravanan (Dhanush), a new cook in the house. From there on, Mahalakshmi comes across enough pleasant surprises and all things thanks to Saravanan end well.

Three cheers to Ananya who has played her part well. She is at ease in romantic sequences and equally good in emotional scenes. Krishna doesn't seem to be a novice. He plays his part well considering this to be his maiden attempt.

Vivek as fake Godman brings the roof down with laughter. His one-liners are witty and catchy. Refreshing to see the comedian striking it rich after a gap.

And the real scene-stealer is Dhanush. The man, who is on a good run in Kollywood, seems to have carried the burden in his shoulders with immaculate ease and delivered one of his best. As a cook who is witty and humouous, Dhanush is there to entertain.

The likes of Suhasini, Sheela among others show their experience on screen. Dhina has come up with some catchy numbers and the best is ‘Saravana Samayal…’, a classical fusion.

On the whole, ‘Seedan’ is a breezy entertainer. With romance, comedy, sentiments and emotions at right mix, the film is worth a watch. Of course there are some speed breakers, but the ride is safe.

Aadu Puli Movie Review

Come what may, nothing can stop the flow of masala movies as far as Tamil cinema is concerned. And interestingly, but for few which are very clichéd, many worked wonders in the box-office, right from the black and white era to these digital days.

Having immense faith in this theory, first-time filmmaker Vijay Prakash has dished out a commercial entertainer, which strictly follows all the unwritten rules. Bit too spicy, ‘Aadu Puli’ also entertains us to a decent extent.

Produced by Michael Rayappan of Global Infotainment (‘Naadodigal’ ‘Goripalayam’ and ‘Thenmerkku Paruvakattru’ to his credit), the movie has a huge star cast- Aadhi, Poorna, Prabhu, Ravichandran, K R Vijaya, Suresh and ‘Nizhalgal’ Ravi among others.

Our hero Idhayakani (Aadhi) comes from a very big family, consisting father Bhagyanathan (Prabhu) mother Kalaiarasi (Anupama), grandfather (Ravichandran), grandmother (K R Vijaya) and a sister.

Even as all is well in the family, Idhayakani falls in love with Anjali (Poorna), daughter of a powerful Minister Thillainayagam (Suresh). Surprisingly, Thillainayagam, who aspires to become the Chief Minister of the State, gives nod to his daughter’s affair.

The lover couple gets ready for marriage with blessings from elders in both the families, but hurdle after hurdle prevent them from tying the knot. Initially unable to find who is the archer behind all the arrows, Idhayakani is shocked when he comes to know about the villain. What starts is a game, which would remind you the title.

Aadhi is on an upgradation mode and ‘Aadu Puli’ is one more step to his reaching the stardom. He fits well to the mass hero role. Poorna does a neat job in the role offered to her. Prabhu, Ravichandran, K R Vijaya and Suresh add credibility to their characters.

Sundar C Babu’s music is average while Rajavel Oliveeran’s camera has worked within the commercial format. Songs penned by Vaalee, Viveka and Kalaikumar come in regular intervals, providing relief.

Finally, ‘Aadu Puli’ is a predictable and has all the ingredients we had already seen in many movies. But at the same time, it is a clean entertainer (certified U by the Censors), which is fit for complete family viewing.

Nadunisi Naaygal Movie Review

Gautham Menon’s last film ‘Vinnaithandi Varuvaya’ rocked the same February season last year and it changed the lives of all the people associated with the film except him. The genre shift is not exactly what we were looking forward. In fact it is amusing to see three renowned directors have dished out three thrillers in the last three months. Easan, Yudham Sei and ‘Nadunisi Naaygal’.

‘Nadunisi Naaygal’ is the story of a boy who turns a psychopath with multiple identity disorder. Gautham has stuck to the theories of this disorder perfectly. But a placid narration is bound to test your patience.

Samar is a child abused by his trusted parent and grows under his neighbourhood Samaritan Meenakshi aunty with a new name Veera. But Veera is haunted by the traumatic events of childhood day and night. He splits off the awareness and memory of the traumatic events to survive in the relationship of Meenakshi. His compulsive disorder makes him possessive of Meenakshi and when she marries, Veera kills her husband. In the mêlée Meenakshi is also burned.

But Veera develops a personality thinking Meenakshi is controlling his multiple identities. His different personalities perform different functions that are destructive. Veera turns a psychopath who is after young girls and associates compulsive love and the violence. When he plays the game with his school friend Sukanya the game ends. Oh yes! I am able to narrate the story. If you still have problems wait for the end credits to roll and there is another proper narration.

‘Nadunisi Naaygal’ was flaunted as a psychological thriller after three decades and strictly warned the weak hearted to stay away. But not really so. The two hours long film fails to grip you. With no logical coherence in development you will fail to sympathise with the protagonist. So what does ‘Nadunisi Naaygal’ mean in the film? Nothing. Dogs only appear

There are not too many characters in the film and the director is able to extract good performances from his actors.

Veera as the psychopath is there in almost every scene. He gets a fairly long solo sequence at the climax to perform. His ‘Anniyan’ acts there of course are déjà vu. Considering he is a new comer, Veera passes with above average marks.

Sameera Reddy as Sukanya takes the second half along with him. As a traumatized girl waiting to be killed by a psychopath, Sameera has shown fear good. She can claim to have acted in this film as she is better off than her earlier two Tamil films.

But the cake goes to Swapna Abraham. She scores. As a protective mother figure and a helpless woman to veer away Veera, the singer has proved she is a good actor too. As a twist Gautham Menon’s lucky mascot Samantha Prabhu is also there in a cameo.

Technical department as always prove big strengths to Gautham Menon. Manoj Paramahasa’s cinematography is worth writing. The climax sequence where light and rain play games together is his. As almost the entire film was shot at night it gives the cameraman the challenge. Another notable act is the re-recording.

Gautham Menon had clearly said this film is for the multiplex audience only and we appreciate his foresightedness. This is definitely not a regular Gautham Menon film. Gautham is a story teller; ‘Nadunisi Naaygal’ looks seaming of incidents to look like a story.

May be you better go to see this film as a film not done by Gautham Menon.

Thambikkottai Movie Review

 

We have it again. The typical Tamil cinema hero is back to sing, dance, make love and fight a hundred baddies. But this time it is Narein, who is a first timer to this formula which is as old as the sun.

Having said that, we should also say that director Ammu Ramesh, a former associate to ‘Jayam’ Raja’, has productively rehashed this ‘winning formula’ into a full-length film, which makes us feel exhausted at few places.

Produced by R K Suresh, the movie with a huge star cast (Poonam Bhajwa, Santhanam, Prabhu, Meena, Sangeetha and ‘Nan Kadavul’ Rajendran among others), is a blend of action, romance, comedy and sentiments.

Alagiri (Narein) is brought up by his sister Shanmugapriya (Meena), a college lecturer, as their parents are no more. Life is a happy journey for Alagiri and his friends till he goes to Thambikottai village on a NSS camp.

Despite his sister’s advice not to leave for Thambikottai, Alagiri reaches the village, only to know that the place is controlled by dreaded don Amirthalingam (‘Nan Kadavul’ Rajendran).

Alagiri, who already has a connection to Thambikottai (which is told in a flashback), decides to put an end to Amirthalingam’s menace. In the meantime, he also falls in love with the villain’s daughter Kanaka (Poonam Bhajwa).

Initially it was difficult for us to swallow Narein’s super man act. As scenes unfold, the actor proves that he is not a wrong selection. Poonam Bhajwa does the typical heroine act while Meena makes a comeback.

Sangeetha, as ‘Beeda’ Pandiamma, reminds us Sornakka of ‘Dhool’. She plays a woman dhadha who is aware of Indian legal system. Prabhu, Santhanam and ‘Nan Kadavul’ Rajendran play their respective roles well.

D Imman has given what a masala flick requires while the in-charges of other departments have done a decent job. On the whole, the journey to ‘Thambikottai’ is like going to our grandparents’ village, that is, pothole filled, still enjoyable.

Payanam Movie Review

How many times had we seen a serious issue being dealt in the way it has to be dealt in Kollywood? How many times a real-life issue was given the right tinge of imagination that strikes a chord with masses? How many times that lead actors involved themsleves with the characters they play? And finally, how many times one would have felt watching a movie that the director had firm grip on the medium?

It majority of the answers is rare, then comes a whiff of fresh air in the name of 'Payanam'. The movie set in the backdrop of flight hijack has been told in a riveting way and interestingly the viewer would identify himself as one of the passengers in the flight.

Be it Nagarjuna or Prakashraj, who play key roles in the film, they form part of the script and nowhere one could find their individual traits coming to the front.

Three cheers to Radha Mohan, Prakashraj and Nagarjuna for the trio have combined to render a flm that is entertaining and enthraling from the word go. The filmmaker, who handled emotional and family dramas themes in the past, consciosuly chose to tread a different path and emerges successfully in a tight-rope walk.

'Payanam' is a ride of joy, ecstasy, camaradaerie, thrill and spill. Nagarjuna and Prakashraj, the two seasoned artistes, ensures that Radha Maohan's imagination are brought out well on screen.

For Radha Mohan, the captain of the ship (or call him the pilot of the flight), 'Payanam' would be a landmark film. He has brought out his other side with hard-hitting message laced in a sweet entertainer. What more? His ability to handle a large group of artistes and get their best is a trick that he has mastered since his first film.

A terrorist group hijacks a flight from Chennai. The plane, with 75 passengers (including a Minister and a top actor among others) and crew, is brought to the Tirupati airport. Home Secretary Vishwanath (Prakash Raj) and other higher officials come to the temple town to negotiate with the terrorists.

In the meantime, the job of rescuing the passengers is entrusted to NSG commando Ravi (Nagarjuna). What follows is diplomatic and pulsating efforts to save the lives pof 75 passengers on board.

Prakashraj continues his sublime form. He is at ease playing the pivotal role and brings out right emotions. Nagarjuna as NSG Commando is indeed an apt choice. Sans big romance or naach gaana, it's indeed relief to see a new Nagarjuna. His body language deserves special mention. He is portrayed as both brainy and brawny.

What is praiseworthy is that the rest of the cast including Sana Khan, Bharath Reddy and others, with everyone having a meaty part to play in the script.

Due credit should be given to cinematographer K V Guhan and art director Muthuraj. They are the flesh and blood to the movie. The authentic feel of being on board a flight is made possible by them. Also Praveen Mani's background ( sans songs) peps up the proceedings.

The producer in Prakashraj has once again proved that he has a nose for innovative ideas and that all hopes are not lost when he is around in Tamil cinema, which is otherwise dominated by cliched commercial masalas.

Kudos to Payanam for a great successful journey.

Thoonga Nagaram Movie Review

Kollywood has always been on the move with its action, thrill, stunts, love sequence and comedy. And Thoonga Nagaram is no different but with a new story.

The movie is about four drinkers who become friends through their hilarious activities in a wine shop. Thereafter they become best buddies. They promise to help each other regardless of any circumstances. The best example is when one of them gets angry and walks off and at his work is which happens to be a graveyard… he gets electrified and becomes seriously injured. That’s the moment when the true bond of friendship is seen.  All his friends run to save him, take him to a hospital, they take care of him no matter what happens.

 As a story line of the movie they try to tell that true friends never decieve each other. As the movie precedes, Vimal, the main lead, finds his childhood love Kalaivani which was lost due of his family problem, finally marries. The movie takes an interesting turn when then friends where drinking as usual, they come to know that there were two guys who black mail the brides of the city by taking their photos with a bad intention. Vimal who fights with them is unaware that one of them is a son of the brutal don. With the fear of being killed they leave Madurai and go back to their villages. They promise as to never return to city, but as every story tells the some how finds the hero, the same happened. The don threatens Vimal’s friends to kill him. In this unimaginable situation, they had no choice but to kill Vimal and save their families. But the unbreakable bonds of friendship stop them to do so. They spill out the plan to Vimal and re-make a counter planwhich happens to be the suspense for the audience.

Everything ends on a good note in Indian cinema. I personally feel that the movie has a good story which is again based on the madurai background films. The cinematography of the movie is excellent; the camera man Vijay Ulaganathan has brilliantly captured the movie, a big bow for his extremely good work.  This supposed to be the directorial debut of the director Gaurav. The movie has very good songs on terms of its lyrics, vocalists and choreography. The locations shown in the movie are pretty good.

Ilaignan Movie Review

Tamil Nadu Chief Minister M Karunanidhi’s pen seems to grow younger day after day. The man with a Midas touch, in his 75th film as script, oozes with the same energy which was evident in ‘Parasakthi’.

In a career spanning seven decades, he has touched on almost all themes that had a telling impact on the society. He never failed to champion the cause of the oppressed and the ink never dried when he wrote for the cause of the weaker section.

’Ilaignan’ is one more jewel in his crown that speaks for the cause of the working class. The need to respect workers, give them their due share and what happens if the capitalist tendency prevails is what ‘Ilaignan’ speaks about.

No doubt the script is outdated. But no complaints since ‘Ilaignan’ is a period film and the intentions are made clear from scene one itself.

With his fiery dialogues, Karunanidhi brings out the right emotions and creates the need for an equitable society. If Chief Minister Karunanidhi is the flesh of the movie, then director Suresh Krishna is the blood.

He in his 50th film, has given shape to Karunanidhi’s thoughts with ease and elan. The making is rich (thanks to producer S Martin) and the emotional drama has been brought out well. Be it the romance, rivalry between the capitalists and the working class of revenge or the mother-son love, all is captured well on canvas.

The story occurs in 1959. Rajanayakam (Suman), who owns a ship building company in rural Tamilnadu, exploits his workers. He forces them to work for meager wages and restricts them to live within a wall.

With no proper food, they are forced to suffer. More a bonded labour, they are put to untold hardship. Any kind of resistance is met with violence by Rajanayakam’s men. He is controlled by his fiancée Sena (Namitha), a wicked woman.

Enters Kargy (Pa Vijay), son of Arokiyasamy (Nasser) and Valliyammal (Kushboo). Arokiyasamy is killed by Rajanayakam’s men. Kargy joins the company as a staff. He sows revolutionary thoughts among the employees.

He forces them to take up a fight against the cruel wicked boss. He also gets the help of Meera (Meera Jasmine), sister of Deivanayakam. Also there is romance between Ramya(Ramya Nambeesan) and Kargy.

Soon after mobilising the support of employees, Kargy plans to wage a battle with arms. But his mother urges him to fight in a non-violent manner. However Kargy and his men are forced to pay a heavy price when the battle begins. Finally it a major fight between Kargy and Rajanayakam to settle scores.

Pa Vijay has played his part to perfection. He looks trim, slim and tailor-made for the role. He is expressive and gives his best performance. His emotional expressions towards the climax is worth-mentioning.

Equally impressive is Kushboo. Playing the role of mom, she is right there giving a excellent performance. Suman as wicked Rajanayakam is good. Namitha, Meera Jasmine, Ramya Nambeesan, Manivannan, Y Gee Mahendra and Vadivelu among others are adequate for the role.

Music is by Vidyasagar with a couple of songs inclouding ‘Imai Thoodhanae…’ is nice to listen to. The song ‘Thozha Vanam Thuram Illai…’is loud and rocking. B L Sanjay’s cinematography is bright and apt for the theme. But all credit should go to Thotta Tharani, who has put up huge set replicating a ship building factory.

Martin deserves accolades for producing a movie in a lavish manner. With Suresh Krishna and Karunanidhi at the helm of affairs, ‘Ilaignan’ is an old theme, which is still the need of the hour.

Sirithai Movie Review

Karthi seems to be having a dream run in Kollywood. He is like a batsman in in prime form smashing all deliveries to boundary. As long as you are not ready to complain that 'Siruithai' lacks logic, the film would work big time, as it is an out and out commercial fare.

Having started his career convincingly being part of off-beat movies like 'Paruthuiveeran' and 'Aayirathil Oruvan', the sibling of actor Suriya is right here at a groove proving that he too is not far behind his elder brother, tasting success doing mass masala ventures.

Adding to his list of entertainers is 'Siruthai'. Fast and furious from the word go, the movie comes with a sole purpose to provide entertainment and with no pretensions achieves the purpose.

As if not happy scoring a ton in his earlier ventures, Karthi goes to score a double hundred here. Yes, the actor manages to pull it off convincingly donning a dual role in the film for the first time - that of a callous local youth and a tough cop.

Though a remake of Telugu hit 'Vikramarkudu', director Siva has taken Karthi's abilities in his stride to make some suitable changes in the Tamil script, that helps the movie cross the chequered flag with much ease and gusto. Be it the dialogues, comedy, action or romance, 'Siruthai' manages to sustain all interest - it is like a pot where you put your hand everytime you get a fortune.

Rocket Raja (Karthi) is a small time thief who is talented enough to steal anything he comes across. In the company of Kaatupoochi (Santhanam), he enjoys life to its extent and even falls for the charm of a beautiful girl (Tamannah).

However, his life changes forever when a small girl comes to Raja calling him dad. As Raja finds out the girl's past, a flashback reveals that she is the daughter of an honest cop Rathanavel Pandian (Karthi), who is a nightmare to baddies.

However, Pandian is now is on the run because his enemies are behind him and his daughter. Eventually, the villains find the whereabouts of Pandian and finishes him off.

So steps in Rocket Raja (with the help of Pandian’s colleagues who are behind the girl reaching him) into his shoes and finishes the unfinished work of Pandian. He also takes care of his daughter. A roller-coaster ride of fun, joy, camaraderie and romance is what 'Siruthai' is eventually.

Karthi has not merely run through the motion but gives his heart and soul in the characters. Be it a fun-loving Rocket Raja or the angry policeman Rathnavel pandian, Karthi brings both astute on screen. He combines the Anbuselvan of 'Kakkha Kaakha' and the Sakthi of 'Pithamagan', made famous by his brother Suriya. At ease and at his self in dual roles, Karthi spells his charm all through.

Not far behind is Tamannah. The 'Paiyaa' duo of Tamannah and Karthi recreates the same chemistry on screen. Tammanah as bubbly innocent girl spells magic. A complex character made with ease by her. After a brief interval, she gets a role in which she really sparkles.

Add Santhanam for humour, and the end product is breezy and entertaining. As usual the comedian has audience in splits with his one-liners. He combines the grace of veteran Goundamani and presents them in his unique way, scaling success movie after movie. Mega Nair (of 'Thangam' fame) plays a woman police and has a bearing in the script.

Then there is Avinash, Rajiv Kanakala among others who do the job given to them with consummate ease Walking away with honours is Vidyasagar. The man of melody has come up with a cocktail of peppy and soft numbers, while Velraj's cinematography is the talking point of the movie. The action sequences featuring Karthi as cop is major plus for 'Siruthai'

Produced by Studio Green, 'Siruthai' is fit and fine for a good leap. With Karthi trying new vistas not missing out on the entertainment quotient, it is a obvious sweet pongal for masses this Pongal. Action and satisfaction is what 'Siruthai' is.

Aadukalam Movie Review

Director Vettrimaran proved that he is a man of substance in 'Polladhavan'. He reiterates it with more conviction and courage in 'Aadukalam'. With Dhanush again in the company, he has crafted a story that is meaningful and loaded with faces whom we often see in our midst. The core word is realistic and touchy.

After a sci-fi film in 'Enthiran', Sun Pictures have gone to the roots of our culture and they have managed to produced a film that strikes our heart instantly, which they could feel proud of. Vettrimaran deserves all pat for narrating a simple story with intricate and complex emotions in a nice manner.

The essence of true friendship, love in hatred and hatred in love and betrayal are highlighted in a excellent way by the director. Unlike the regular run-of-the-mill Madurai movies, 'Aadukalam' has more substance to chew for the masses. It is strikingly different and Madurai just forms part of the story.

If Vettrimaran is the flesh and blood, Dhanush is the soul. Doing the roles of boy-next-door is like a cakewalk for this lanky actor. His intense performance is the hallmark of the movie. He leaves a magic with callous dialogue delivery and apt body language. He seems to be in more comfort when he works with Vettrimaran.

Coming to the script, everything is new in 'Aadukalam'. Perhaps a different pitch where Vettrimaran goes all guns blazing. The story unfolds in a suburb in Madurai where cock fight is the most happening thing. Be it sorrow or joy or be it to proclaim the superior status in the village, rooster fight is played with all seriousness.

K P Karuppu (Dhanush) does everything and works tirelessly for Pettaikaran (Jayabalan). Pettaikaran is a stud in the sport and he had won many cock fights .There is one Dorai (Kishore), who too is an assistant to Pettaikaran. Obviously ego flare up between Dorai and Karuppu is bound to to be there.

Karuppu comes across an Anglo Indian girl Irene (Tapsee), living in the nearby railway colony. Innocent Karuppu tries ways and means to impress Irene. Meanwhile there is a cop in the same town - Rathnaswamy (Naren) who is also involved in cock fight and a name to reckon with in the sport.

All troubles break loose when he plans a fight with Pettaikaran. They manage to obtain permission from all authorities concerned and the sport for prestige begins. Interestingly the former adopts all fraudulent methods to scuttle Pettaikaran. When Pettaikaran loses at the start, enters Karuppu to save his master's pride.

He matches Rathnaswamy's tricks and emerges winner. A jealous Pettaikaran now disowns Karuppu. The victory brings laurels in Karuppu's shoulder and soon he becomes a star in the neighbourhood. Pettaikaran plan a plot to avenge him. This enmity snowballs in to a huge crisis leading to a racy climax.

'Aadukalam' is a whiff of fresh air in cliched Tamil cinema. Dhanush is at it giving one of his best . He is right there giving an astounding performance from frame one. He is at ease with Madurai diction of Tamil. WIth a perfect body language, Dhanush walks away with all aplomb.

Jayabalan is a perfect choice for the character of Pettaikaran. He lives up to the role and delivers dialogues with such power and punch. Kishore as usual does the job entrusted to him well. But a surprise package in the cast is Tapsee. She in the role of Anglo Indian girl is simple, sweet and elegant.

Vettrimaran has entrusted that it should not just be a superior product with a strong story but should be technically-rich. Dialogues and razor sharp editing (Kishore) besides cool visuals of Velraj adds strength. G V Prakash's catchy musical score is another plus for the film. Songs and background score go hand-in-hand withe the theme.

However on the flip side, some dragging moments in second half could have been avoided. On the whole, it was an different experience watching a different film. Hats off Vettrimaran and team and three cheers to Dhanush.

Kavalan Movie Review

‘Kavalan’ is no doubt a different Vijay film. Yet, it is no different movie for it has got nothing big to offer but for Vijay’s terrific screen presence coupled with his neat performance and an emotional climax that comes with a twist.

Take away Vijay and Vadivelu (who provides relief in a few scenes), ‘Kavalan’ could make you squirm on seats, courtesy an outdated script and age-old style of narration. A few compromises to the original version (Malayalam hit ‘Bodyguard’) to suit the image of Vijay too fails to work big time.

In other words, ‘Kavalan’ could be a classic example of how a potent knot could be diluted in the name of making it a ‘commercially viable’ product. One good sign is that Vijay coming forward to be part of a project which doesn’t portray him as a demigod.

Coming to the story, Bhoominathan (Vijay), a carefree youngster, is made by his father (‘Nizhalgal’ Ravi) to join the household of Muthuramalingam (Rajkiran), a don-turned-do gooder in a village near Madurai, as a bodyguard.

As there is a threat to the life of Muthuramalingam’s daughter Meera (Asin), he asks Bhoominathan to accompany her to the college and provide security cover. As Meera feels Bhoominathan’s presence as a disturbance, she plays a prank on him, despite a warning from her friend Maadhu (Mithra Kurian).

Slowly, Meera falls for the charm and good heart of Bhoominathan and all hell breaks loose when Muthuramalingam, who never allows anyone deceive him, comes to know about this. What follows is a dragging climax, which however is emotional and touching.

Vijay is the real one-man army who saves the film to a great extent. It is his charm and performance that work big time in ‘Kavalan’. Asin is good but her much talked about chemistry with Vijay (in ‘Sivakasi’ and ‘Pokkiri’) is missing.

Vadivelu as Amavasai provides comic relief on very few occasions. Mithra Kurian, Rajkiran, Roja, KK, M S Bhaskar and ‘Pithamagan’ Mahadevan have performed well, but only have little scope as it is Vijay’s show all the way.

Vidyasagar is back with ‘Kavalan’ and his background score is good. So are a couple of songs. Cinematography by Ekambaram and editing by Gowri Shankar add value to the end product.

The script has many loopholes for there are many unanswered questions. One good example is that why ‘Pithamagan’ Mahadevan, who challenges to kill Asin at any cost, vanishes all of a sudden.

Siddique is a director with a magic touch in Malayalam. And in Tamil too, we have enjoyed his movies, especially ‘Friends’ with the same Vijay. However, as far as ‘Kavalan’ is concerned, we have to conclude the review with a dialogue oft-repeated by Vadivelu in the film- ‘Avarey confuse aayitaaru pola irukku…’

Vaada Poda Nanbargal Movie Review

 

There have been many films in the past which have used the universal theme of friendship to reach out to audiences even without the presence of any stars. Vaada Poda Nanbargal also looks to travel along the same path. The difference here being that the two friends have not seen each other; their friendship starts from the current generation’s favourite online hobby – the chat, and grows through other modes of telecommunication like the mobile phone etc. The director must be acknowledged for being very contemporary here. But, what good is an online friendship, one might ask. How much faith and connection would such friends have in each other? This friendship too is like that to start with. But, a fortunate turn of events, thanks to technology and photo sharing, makes one of them regain something very valuable in his life which makes him greatly indebted to his friend. That is where the bind gets stronger. But, an online friendship, does have its own limitations. The very technology that made them friends in the first place also plays spoilsport; online identities which are far removed from real life; and threatens to mar the relationship, again through a thoroughly unexpected sequence of events.
At the outset, the premise does look interesting – friends who have never seen each other! This kind of concept has worked before; except it was not about friends, but lovers. Here the director fails to create the same suspense or magic which goes with a very strong relationship where the people involved have not seen each other. Part of the reason for that is the sequence of events in the script. A linear pattern of narration makes the goings on very plain. Also, the director has not been able to make the audience feel the depth of the friendship which works against the movie. More importantly, the sequence of events which leads to the strengthening of the friendship looks far too serendipitous to digest easily. Likewise, the event that leads to the final face off also looks a bit trivial; a matter of stretching a minor quarrel too far. Another major drawback of the film is the failure to build effective characters sketches of any of the protagonist. Even though the film shows the daily personal lives of both the friends, the sequences look disjointed, fragmented and ultimately have very little bearing on the friendship and ultimately the plot. Most of the parts where the script wanders out of the friendship track and into the personal lives of the protagonists can be considered as pretty inconsequential portions of the film. On the whole, it is a script that lacks cohesion that has spoilt the party for Vaada Poda Nanbargal.
The film does give the look and feel of one that has been brought out by a bunch of newcomers. They have tried hard, no doubt, but have failed to reach the professional level of film making. Almost all departments, camera, editing, re-recording, are a notch below what would be considered par in Kollywood at present. The fresh faces on screen too have not made a great impression, though one cannot fault the earnestness of their attempts. Music by debutante Siddharth also does not stand the movie in any great stead.

Vaada Poda Nanbargal is an account of two friends which fails due to a general lack of focus in the script.

Yudham Sei Movie Review

Soon after the critically acclaimed ‘Nandalala’, Mysskin has dished out a diagonally different film in ‘Yudham Sei’. It comes under detective thriller genre. The film was thought by many as a sequel to ‘Anjathey’, but it no where near that. ‘Yudham Sei’ is not a conventionally commercial film but has a lot for cultivated audience.

Story is simple. A CBCID officer is investigating an eccentric series of crimes happening in the city. His investigation leads him to the unexpected crime doers. The CID officer also has a motive to track the killers and the killers also have a strong reason to do what they do. In the end there is a surprise waiting. 

It is in the detailing and the gripping narration the film wins. Right from the first top angle shot of a rainy night, the first half is very absorbing and the twists and surprises will really hold you on to your seats. It gives a new dimension to detective genre in Tamil. Every move the investigating officer takes is intelligent for a change and you unquestionably travel along with him.

There are a lot of scenes to show Mysskin’s touch through out the film. Like Cheran throwing the profiles of the officers who have been deputed to help him in the dust bin, the transitions in the sequence where Manikka Vinayagam story unfolds, the cleverly choreographed action sequence just before the intermission  and so on. The climax is very blood spilling but you don’t see much blood spilling.

In the acting department it is Cheran’s game all the way. As a helpless police officer who is trailing the killers for the sake of himself also is remarkably good. His delicate emotions, particularly in the scene where he is told of his sister being alive, his changing of expressions are class. Just as Mysskin categorically said before the release, even we say Cheran is the best choice for the role.

Even the supporting cast has done brilliant jobs in Yutham Sei. Y. Gee. Mahendra, Lakshmi Ramakrishnan, Jayaprakash, Selva, Marimuthu, E. Ramadoss, Yugendran and Manicka Vinayagam. Particularly Y. Gee. Mahendra, Lakshmi Ramakrishnan and Jayaprakash play crucial characters and they will shock and surprise you at the same time. In the climax scene you will see the best of all.

In the technical areas the cameraman Sathya and the music director K have worked as the right and left hands of Mysskin. The visual images are neat through the eyes of Sathya. In many follow through shots the placing of the camera was interesting particularly in scenes involving vehicles.

Music director K has played his heart out in the background score.  The violin bits that work as theme music are raw and riveting. The film has just one song and that is a typical Mysskin kuthu in the lines of ‘Kathala Kannale’ and ‘Vaalameenukkum’. Director Ameer and Neetu Chandra dance relives you dancing to the song.

The only could have been done thing is a little trimming of the second half. The tempo that was built by the engrossing first half slows a bit in the second, although the climax scores.

 On the whole ‘Yudham Sei’ is absolutely watchable just for Mysskin and his way of story telling.