Avan Ivan Movie Review

First things first. �Avan Ivan� is no serious kind of a Bala film. It is like a marriage between commercial cinema with the signature style of Bala. The ace filmmaker has woven the script in such a way that there are no dull moments and the wafer-thin storyline does proceed without any lag.

All the characters blend well and there is a touch of realism in each of them even though Bala has opted for some commercial clich�s here and there in the film. The national award winning director has played to the gallery at most places, with Vishal and Arya getting due space on screen to woo the audience with their acting skills.

But quite like other Bala movies, there are enough scope for other characters too that have a bearing on the script.

If the first half is more like a cat and mouse game between siblings (Arya and Vishal), the latter part ensures that the two join hands for a cause. They embark on a journey to take revenge, reminding you �Pithamagan�.

Due credits should be given to Bala for breaking grammars of Tamil cinema. The heroes are not smart-looking fellows, the mother of the lead roles are not dotting, romance comes without duets and there are no punchlines to mouth. On the whole, the film has no structured pattern of narration.

Kumbidaren Saamy (Arya) is a petty thief and his half-brother Walter Vanangamudi (Vishal) is an aspiring drama artiste. They both live life their own way. Their father (Ananth Vaidyanthan) is caught between his two wives.

There is an old time King who lost all his wealth but commands respect in the village. Called affectionately as His Highness (G M Kumar), he showers love on Saamy and Walter.

Both Saamy and Walter do anything for His Highness. As events unfold, Walter and Saamy fall in love with a police constable Baby (Janani Iyer) and a college girl Thenmozhi (Madhu Shalini) respectively which lead to hilarious situations.

Enters a cattle smuggler (RK). He transports animals illegally to Kerala. His Highness comes across his business and ensures he gets punished. But the latter swears revenge on Highness which leads to a riveting climax featuring Saamy and Walter.

It's a totally new Vishal in the film. As a squint-eyed youth, his dialogue delivery and body language is outstanding. The actor is at his best from the very first reel. He carries the whole burden well in his shoulders. The highlight of Vishal�s performance is a scene where he pours out Navarasa emotions on stage. Wonder where this actor in him was hiding all these days.

Arya plays second fiddle to him. He is cool, casual and is at utmost ease. He carries his role with utmost sincerity. His comic acts don't fail to make us laugh. Suriya's cameo, Ambika's bold performance and the presence of two leading ladies, Janani Iyer and Madhu Shalini, adds strength to the script. RK as the baddie is a perfect foil.

The real scene stealer is G M Kumar. The veteran plays a disappointed but fun-loving old man. He emotes well on screen and deserves applause for playing such a tricky role with consummate ease.

Arya's encounters with Madhu Shalini especially the dialogues where he urges her to drop her money in the temple, Vishal's encounter with Janani Iyer in the police station or the scenes involving Ambika swearing on his sons, all have the signature style of Bala.

Arthur A Wilson's lens captures landscapes of Theni well, while crisp editing by Suresh Urs peps up the proceedings. Watch out for Yuvan Shankar Raja's background score that reminds his dad Ilayaraja in his prime form.

All said, �Avan Ivan� is not a typical Bala film, and it has its own dull moments, courtesy clich�d scenes and dragging second half. But it also has many ingredients to entertain the masses. The producers (AGS Entertainment) and the director deserve credit for such an unusual attempt.

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Manmadhan Ambu - Hitting bull's eye

Doing a hilarious entertainer is no tough task for Kamal Haasan and K S Ravikumar duo. Their previous encounters (barring 'Dasvatharam') proved a point that they are masters in the trade. 'Manmadhan Ambu' is obviously a cakewalk for the two, who give one of the best entertainers for Tamil cinema.

Hold on. Who said comedy movies should not have a strong storyline? 'Manmadhan Ambu' does have strong script backed by a taut screenplay. Forget the likes of 'Thenali, Avvai Shanmugi' or 'Panchathanthiram', fasten your seat belts to laugh out loud with logical sequences, and 'Manmadhan Ambu' is right there to entertain you.

It has some entertaining elements, sentiments and emotions. Spying on one's beloved seems to be the crux. A possessive industrialist hiring a private detective to follow his ladylove, who is on a holiday abroad and the sequences aftermath the mission is what the movie is all about.

Lace it up with Kamal Haasan's perfection, Madhavan's buoyant performance as possessive lover, bubbly Trisha and Sangeetha, Ravikumar's directorial touches and Udhayanidhi Stalin's production values, the film no doubt impresses.

Unlike recent run-of-the-mill-stuff, the movie has signature Kamal Haasan style of sophistication from the word go. No flashy introduction, easy dialogue without punchlines and candy floss romance is what all the movie is.

If Kamal Haasan is the flesh and blood of the movie, Ravikumar injects life with his screenplay. He ensures that momentum is not lost anywhere (how when Kamal Haasan is at the scheme of things).

Devi Sri Prasad impresses with foot-taping peppy numbers. The combined effort of Manush Nandhan's camera capturing the huge cruiser and the landscapes of Paris, DSP's racy re-recording and the wizardry of Kamal Haasan and Ravikumar makes the movie count.

Madhanagopal (Madhavan), is the son of rich industrialist couple (Kitty and Usha Uthup). He is in love in Ambujakshi (Trisha), a popular actress. He happens to visit her at a shooting spot in Kodaikanal, where she shoots with actor Suriya.

Possessive by nature, Madhanagopal mistakes her when she speaks to Jyothika and Suriya's daughter over phone. Madhan and Ambujakshi pick up quarrel and eventually ends up in an argument.

Madhan, who had been to present a car to her as gift ends up travelling in the car with her arguing which meets with a freak mishap. Meanwhile there is one Deepa (Sangeetha), a divorcee with two children, who wants to live in her own way. She decides to spend her vacation abroad.

When Ambujakshi plans to go abroad for a break to spend her vacation, Madhan suspects her and hires the help of a private detective Mannar (Kamal Haasan). Mannar assures to do the task with a promise that Madhan sponsors for his friend Rajan's (Ramesh Aravind) medical expenses. He suffers from cancer.

Mannar sets out to Paris and later on a cruise where Ambujakshi and Deepa been to. Both Deepa and Ambujakshi become acquainted and spend time with gusto. Enters Mannar, who after following Ambujakshi closely finds out that she is a upright and a sincere girl, who thinks of no one but Madhan. When he informs this, a relieved Madhan backtracks from the promise he made to Mannar.

Hence Mannar hatches a conspiracy and comes out with a story saying that she is actually dating a man. An insecure Madhan now comes to Mannar again and urges him to stay there and follow her more closely.

Meanwhile, coming to know of Madhan's act, his parents go dissatisfied with him. Actually his mother wants him to marry one of their relative (played by Oviya of 'Kalavani' fame).

As it happens Mannar and Ambujakshi come to know each other. Mannar reveals that he was a commando in Indian army and that he was married to a French woman, whom he rescued from militants in Jammu Kashmir.

But Ambu is in for a shock when Mannar says she was killed in a recent mishap at Kodaikanal and that too when a luxury car knocked her down. All is now between Ambujakshi and Mannar. What happens from here on is narrated in an interesting manner. Did Madhan get Ambu or he repent for his act forms the climax.

Kamal Haasan is there right in every department. Be it the dialogues or the subtle silent expressions, he is breezy and entertaining. He is as solid as Sachin Tendulkar, fresh even after completing 50 centuries on the Test cricket ground. His one-liners and the agile stunt sequences are a delight for audience. Kamal has ensured that his fans are not disappointed all through.

Madhavan plays a bubbly romantic youth. The complex character of an over-possessive lover is handled well by him. Trisha is not far behind. She matches Kamal Haasan in every scene with her performance. Especially her subtle emotions, cherubic dance deserve a special mention.

Sangeetha is apt for the role. She casually dons it and gives one of her best. Also the likes of Ramesh Aravind Urvashi as Ramesh Aravind's wife Mallika, Kitty and Usha Uthup among others impresses. Malayalam stars Manju Pillai and Kunjan, who play producers running behind Trisha for dates, strike with their comical performance.

Shooting in a star cruiser and a majority of film in a foreign land has been made possible by Udhaynidhi Stalin. Having made a name for himself producing and distributing quality fare, he ensures 'Manmadhan Ambu' tops the list.

If the first half settles down to a pace, the second half takes off in a bigger way sustaining the momentum all through.

Three cheers to Kamal Haasan, a man who has entertained us for over 50 years, for continuing his job with same energy, enthusiasm and vigour. 'Manmadhan Ambu' may not be a 'Panchathanthiram' or 'Dasavatharam', but a perfect holiday entertainer with Kamal stamp all over it.

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Aattanayagan - Action replay

Sakthi joins the big league of actors by doing a mass masala movie with ‘Aatanayakan’. Unlike his earlier ventures which where dominated by love stories, the film directed by first timer Krishnaram is more a one-man show with Sakthi playing a messiah in his own style.

The actor flexes his muscles, bashes up baddies, romances and has a gang of friends with whom he indulges in comedy. Krishnaram has chosen a story that is oft-seen in Tamil seen right from MGR days.

But the shrewd director has induced some pace in the script with Sakthi executing it with gusto and right energy. Then there is the likes of Nasser, Adhitya Menon, Ravi Kale, Ramya Nambeesan and Santhanam among others chipping in with their seasoned performance to make it an engrossing fare.

The first half is breezy and revolves around Sakthi, the youngest son in a family, who is chided by elders for his irresponsible ways. He spends time with his friends and falls in love with a girl and sings a couple of duets.

The latter half is more inspired by ‘Devar Magan’, where the protagonist tries his best to stay away from violence, but finally forced to take arms, only to restore peace and harmony.

Lingam (Sakthi), the younger son of Nasser, leads life in his own way. He along with his set of friends (which includes Santhanam and ‘Lollu Sabha’ Jeeva) goes around town enjoying. But Lingam's father is against his ways. He often compares him with his elder brother Chandran (Adhitya Menon), who runs a software firm in Hyderabad and is caring towards the family. Lingam falls in love with Radhika (Ramya Nambeesan) and he decides to make her sister Indira (Meera Vasudevan) enter wedlock with his brother.

After their marriage, Chandran takes Indira to Hyderabad. But she comes across a startling truth that Chandran is none but a dreaded don in the capital city of Andhra Pradesh and that had hid this truth to his family.

The onus now falls on Lingam to set things right. He promises Indira and Radhika that he would bring his brother back to right ways. But a hindrance to his mission is Boppala Ram Babu (Ravi Kale), who has a score to settle with Chandran. Does Lingam succeeds in his mission or not forms the climax.

Sakthi is cool and ravishing. He plays his part well. Especially in comedy and dance sequences, he is at his best. Refreshing to see a heroine in Tamil cinema sans glamour. Three cheers to Ramya Nambeesan for that. Santhanam plays a typical comedican appearing as Sakthi's friend and there are many of his typical one-liner wits. Ravi Kale and his gang play the usual villains, while Nasser as dotting father and Adhitya Menonn as the don impress.

Vijay Milton's camera is cool. He picturises the village streets and that of the busy stretches in Hyderabad well. Harsha's editing could have been good in the second part. Srikanth Deva's music is loud and the tunes are too familiar.

Produced by Lakshmi Movie Makers, ‘Aaatanayakan’ ia a passable fare. Providing one a deja vu ride, the movie is commercial cocktail that is the order of the day in Kollywood.

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Nil Kavani Sellathey - Eerie entertainer

 Thrillers are not made very often in Tamil cinema. Producer-director Anand Chakravarathy (the man behind ‘Vennila Kabadi Kuzhu’) has taken the guts to do a movie on this genre.

It is no amateurish kind of a thriller, rather a series attempt to present a spine-chilling entertainer, that is interesting in most parts.

A group of friends on a trip to a secluded place missing one after other sets the premise for an interesting film. Though the knot is apparently from Hollywood, Anand (who plays the lead role too) has given the nativity feel and ensured with whatever facility available to him is utlisied well to do a convincing film.

Sam (Anand Chakaravarthy), Jo (Dhaniska), Arun (Ramssy), Priya (Lakshmi Nair) and Milo (Jagan) head to a small village on a pleasure trip. And they reach the place despite a warning that it is not to going to be a nice trip.

As night arrives, what arrives along with it is a series of mysterious experiences. The friends are attacked one after other by an unidentified villain. In the meantime, a police officer too arrives at the village to unravel the mystery.

What is the reason behind the attacks? Will they survive? All these things are made clear in the climax, which has so much twists and turns, with some being clichéd and some quiet interesting.

The movie impresses thanks to a strong technical backup. The sleek cinematography comes to its rescue. Also the lighting sets up the mood. The thrilling scenes where the lead cast run for their lives have been picturised well.

Selva Ganesh’s music is another major highlight. Movies on such genre get strength from background score. Understanding this, Selva Ganesh has lent able support to the director in setting the mood of the film.

Due credits should go to Anand Chakravarthy. He has succeeded in all this three avatars. The other lead players, including ‘Maanja Velu’ and ‘Peranmai’ fame Dhanshika, have presented an impressive performance.

Without any crass comedy, dumb dance by the lead pair or fisticuffs defying gravitational force, ‘Nil Gavani Sellathey’ is an honest attempt as a thriller. Watching it once in a theatre could encourage more such attempts.

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Sanikizhamai Sayangalam 5 Mani - Sanikkizhamai Sayangalam 5 Mani – Review - Sad Sat

 Featuring newcomers, the movie was widely publicised as the first flick made using HDSLR camera technology,

But for the cinematography, 'Sanikkizhamai Sayangalam 5 Mani' fails to impress in any department as it lacks logic in screenplay and coherence.

The rural thriller, which is shaky from the beginning, is about a girl, who goes missing and the desperate search by his lover to find her. Directed by Ravi Bharathi, the whole story unfolds from Saturday 5 pm to Saturday 5 pm the next week, justifying the title.

The movie tests our patience at many places. It has a slew of fresh faces with Sarath and Malini playing the lead roles. The only saving grace is cinematography, which is impressive and the use of still camera works wonders.

Maha (Malini), who elopes from her house in Kodaikanal to Vathalagundu to marry her boyfriend Sakthi (Sarath). On her way to meet him she suddenly goes missing. She speaks to Sakthi over phone during the journey, but suddenly vanishes.

Maha’s uncle is a police officer and he starts to search the girl. The blame falls on Sakthi, but he proves his innocence and begins his search for her. Eventually Sakthi and his friends find out the reason behind Maha going missing and a rude shock awaits them.

The movie stutters and staggers in pace. It is more clichéd and predictable. Sarath is passable while Malini disappoints. Music too is jarring. With an interesting knot, the film could have been interesting had the director made the script cogent and tight.

To sum it up, it is a question whether the film would cross next Saturday 5 pm in cinema halls.

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Easan - Believing in Sasikumar

There was enough curiosity over ‘Easan’ as it is the second film of Sasikumar after the cult ‘Subramaniapuram’ in 2008.

In his second film after two years, Sasikumar has set his focus on Chennai, its urban posh life, its merits and demerits. In the process he has touched upon the life styles of different social classes and their behaviors.

Before the release of this film Sasikumar had said, you can’t slot ‘Easan’ as a thriller or a love story. He was right and very right.

The story begins as a love story, then turns a thriller and then turns a revenge transgression and ends as a social crime novel. Sasikumar has handled the mix of genus rather well except for the length of the movie. A good three hours seems a bit dreary.

Story wise ‘Easan’ is not very innovative. It is a revenge for the killing of a girl after rape by a politician’s son and an honest police officer investigates the case braving pressures from the politico family.

Suspense is maintained till the interval as to who the killer could be. As a clever director, Sasikumar makes you change your guess every time with a lot of characters and sub scenes.  In fact, the game of guessing with a collage of incidents keeps the first half intact.

The story of ‘Easan’ is built by the characters and there is no hero or heroine or a villain or a comedian. Samuthirakani is not the hero, Abhinaya is not the heroine and AL Azhagappan is not the villain, There are around 20 characters and all characters play up to the story.

Casting is also a reason for the sincerity of the film. Samuthirakani as the police officer is subtle and focused. AL Azhagappan as the politician doesn’t look like a first timer. Vaibhav as a spoiled brat son of the politician and Abhinaya as the village girl turning a fashionable city girls are as good as always. Even the other characters those of new comer Aparna, Blessy, Niranjan and Nammo Narayana are good.

James Vasanthan has brought in a good dose of western flavor mixed with local music, which is new and interesting. But placing of most songs look they are item numbers and doesn’t blend with the story telling. But then James Vasanthan always played music to the story without looking for showcasing individual brilliance.

Technically the best done is the cinematography by SR Kathiir. His camera has captured the city night life and the village innocence in two distinctive styles, particularly the discotheque scenes and the opening village sequences. If at all there is one thing you would want to change is the editing. Many scenes could have been crisper and clichéd shots removed. The tedious lengths of scenes in many places actually destabilize the intentions of the director.

‘Easan’ is good by its scenes but knitting them could have been a little more compelling and pragmatic. You may be a little disillusioned if you go to ‘Easan’ expecting the magic of ‘Subramaniapuram’. But then ‘Easan’ is a paradigm shift.

We still believe Sasikumar is a great director capable of repeating the magic of ‘Subramaniapuram’.

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Ayyanaar - Aadhi all the way Movie review

 Aadhi has gone the mass way after the thriller 'Eeram'. In 'Ayyanaar', produced by P L Thenappan, directed by Rajamithran, he plays an angry young man on revenge mode.

Rajamithran has chosen a family-story laced with love, care and fun. A sibling feud with thrill as its backdrop is what the movie is all about.

As like any other mass masala, it begins in a village and ends up in city with bloodbath.

Aadhi has Santhanam giving him company and as usual the comedian comes up with rib-tickling one-liners. Meera Nandan plays Aadhi's ladylove. Then there are host of baddies with whom Aadhi has to settle scores with.

Prabha (Aadhi) is the elder son of the family and he does nothing but spending all his time with his friends. He is chided by his father for that. Being a volleyball player comes to his rescue as he finds a part-time job as a volleyball coach in a women's college.

His younger brother works in a television channel and Prabha is often compared to him by the family, which incurs his wrath. The siblings cross swords with each other. One day the younger brother is killed and the blame falls on Prabhu.

He is on the run and soon joins a goonda working as a henchman to an influential politician (Mahadevan). Pabha goes on a killing spree killing one after another in the gang. Finally a flashback reveals that they were the reason for his brother's death.

Aadhi does the lead role with ease. Unlike 'Mirugam' and 'Eeram', he has more scope to perform. He is at his best in action sequences. He has a 'kuthu' number and a couple of duets too.

Meera Nandhan has limited scenes which she uses well. At a time when glamour is buzzword in Kollywood, Meera Nandhan is right there playing a homely girl. Santhanam is entertaining only in parts.

'Pithamagan' Mahadevan oozes venom in the role while Jayaprakash plays a caring father. Music by Thaman is good and 'Paniye Paniye...' is the pick of the album.

Rajamithran seems to have laced right commercial elements all through the film. The first half begins on a slow note and the story picks up momentum as it progresses.

Cinematography by Sethu Sriram deserves a special mention. All said, the movie has some clichéd portions and a sense of deja vu prevails at many places.

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Virudhagiri - Captain's new innings

 With Assembly elections round the corner, obviously one expected a movie from Vijayakanth that speaks aloud his policies and political ideas.

Comes power-packed with punch typical in 'Captain' style is 'Virudhagiri'. What more he himself has directed the movie making sure that all what he thinks gets stuffed in the film.

One more to the long list of movies featuring Vijayakanth as police officer is this film, which has almost all characters mouthing laurels about him. They appear and disappear from the screen after hailing him the 'messiah of the masses'.

In a nutshell, the movie is about one upright ADGP Virudhagiri, a one-man army who captures international terrorists who are hell-bent on causing trouble to the peace and tranquility.

How he accomplishes the task has been narrated in the way one would have seen often in his flicks before. For die-hard Vijayakanth fans, there are plenty of punch dialogues besides gravity-defying stunt sequences where the protagonist flies, jumps, kicks and shoots with glee.

Besides stunts, the movie's other highlight are the songs, set to tunes by Sundar C Babu. The songs too glorify Vijayakanth and sings paeans on him. There are host of villains, who too heap laurels on Vijayakanth, before they are kicked and butchered by him.

Virudhagiri (Vijayakanth), the upright honest police officer, helps Scotland Yard police in thwarting  a murder bid on the British Prime Minister. He returns to Chennai and comes to know of the troubles and violent attacks faced by Indian students in Australia.

Meanwhile, his friend's daughter goes to Australia for studies and disappears. Now Viruthagiri has double task - rescue her and end the menace forever. He sets off to Sydney and begins his task in James Bond style. How he achieves the mission is the rest.

Vijayakanth is at his best in stunt sequences. He utters punch dialogues with gusto. But he has no pair for any romantic duets in the film. He seems to have donned the dual hat of direction and action with consummate ease. There are a host of artistes including Peeli Sivam, Kalai Rani, Mansoor Ali Khan, Shanmuga Rajan and Arun Pandian.

For die-hard fans of Vijayakanth, 'Virudhagiri' is a movie to cherish. For others, it’s a regular run-of-the-mill Vijayakanth stuff.

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Raththa Charithiram - Blood winner Movie review

Ram Gopal Varma is a pet child of controversies. Some of his biopics in the past invited the wrath of many. So is ‘Raththa Charithiram’, which created waves in Andhra Pradesh even before its release.

The movie on the life of AP politician Paritala Ravi makes one sit sraight and watch. Ramu seems to have done intense research to render an film movie which is strikingly different from run of the mill stuffs.

Thanks to a stellar performance by Suriya and intense show by Priyamani and Vivek Oberoi, ‘Raththa Charithiram’ makes it count. Add to it Shatrughan Sinha’s role, the movie leaves one spellbound.

Suriya lives as Suriyanarayanan, who is baying for the blood of his enemy. His subtle emotions, body language and dialogue delivery gives meaning to the movie. Suriya is right there giving one of his best performances as angry young man.

Pratap Ravi (Vivek Oberoi), who goes on a killing spree in Annathapuram to avenge the killers of his father, settles down to become a politician. He wins the Assembly election from Ananthapuram thanks to the blessings of actor-turned-Chief Minister (Shatrughan Sinha).

He bumps off all his enemies and their relatives and paints the town red. When everything goes well, an attempt on his life creates kerfuffle.

He comes to know that it was Suryanarayana (Suriya), who was waiting for an opportunity to avenge the deaths of his relatives, who got killed in the hands of Pratap.

DCP Mohan Prasadh (Sudeep) identifies the culprit as Suriya. He threatens Suriya to surrender to police holding his wife Bhavani (Priyamani) as captive. Soon, Suriya surrenders to police and goes to jail.

Ravi decides to bump off Suryia in jail but his attempts fail. Meanwhile, leaders of the opposition party, to settle scores with Ravi, volunteers to help Suriya. They decide to clip the wings of Ravi by making Bhavani as candidate in the elections in Ananthapuram.

Ravi now decides to kill Bhavani. Eventually Suriya hatches a plan and decides to execute it at a party meet convened by Ravi. Comes Suriya in disguise to realise his mission. Does he or not forms the climax.

Awesome is one word to describe Suriya's performance. His eyes emote well and in many scenes Ramu has zeroed in on his eyes to make one understand the scene. His diction and body language ooze revenge.

Priyamani is adequate. Vivek Oberoi matches Suriya in performance. However it’s Suriya who walks away with all honours.

Technically, it’s one of RGV's best. The slick editing, different colour tones used by cinematographer Amol Rathod adds to the momentum. Especially he has captured the stunt sequences really well.

But there is no denying that the movie oozes blood and gore. There are crude violent scenes. Bullets fly around. On the whole, it is a tight rope walk, but RGV manages to walk with ease.

Thanks to Suriya's performance and RGV's slick narration, ‘Raththa Charithiram’ is a movie that strikes a chord.

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Siddu Plus Two First Attempt - Passes the test

Expectations are always high when a K Bhagyaraj's movie is out. Amidst mindless masalas ruling the roost, he is one man who cares a lot for a cogent screenplay and that has fetched him enough laurels.

With 'Siddu Plus Two', he joins hands with his son Santhanu. The movie, presented by Moserbaer, promised that much was in store for the audience. Does it live up to all hype is the million dollar question here. One can say yes to an extent, as vintage Bhagyaraj is seen at many places.

Though the story is wafer-thin, Bhagyaraj makes it work by his shrewd screenplay. Interestingly, he has made a script woven around his son. Perhaps the dad has taken an extra leap while working with his son, so to say.

Siddu (Santhanu) and Pavithra (Chandini), meet at Chennai Central Railway station. Interestingly run away from their homes after failing in their higher secondary examination.

Siddu wants to end his life after spending a couple of days according to his wish. Soon he becomes acquainted with Chandini. They spend all time together and ensure that they really enjoy. They slowly start to fall for each other and then come problems and how they overcome is the rese of the story.

Santhanu is cool and breezy. He reminds Bhagyaraj in early 1980s. He is good at humour also. Chandini too impresses. Bhagyaraj has the knack of introducing right talents and Chandini is one more good addition to the long list of actresses introduced by him.

Bhagyaraj's scenes in 'Siddu Plus Two' remind his earlier movies. But at the same time refreshingly different from the mad crowd of films that we see these days.

All the characters in the film do have a stay. Dharan's music is a strength to the film. It has added pep to the proceedings. Bhagyaraj deserves appreciation for making the movie watchable by the whole family with less of violence and gore. However the tedious second half could have been trimmed. The movie's length is a letdown.

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Chikku Bhukku - Romantic ride Movie review

Romance never fails to entertain audience. Since the early days of cinema till now, it has been served in different flavours and whenever it is presented with perfection, it appealed to all sections of the movie-buffs.

From MKT to STR, it’s the stories that are loaded with romance that struck a chord with the masses. Joining the list is Arya, whose ‘Chikku Bhukku’ is an attempt at making a full-fledged love movie.

Manikandan, a former associate of cinematographer-director Jeeva, has ensured that the film oozes with romance all through. It draws comparison of love between 1980s and the present day.

More like Bollywoood’s ‘Love Aaj Kal’, the movie has two love stories woven in one.Also some traces of ‘Varanam Aayiram’ cannot be missed while watching ‘Chikku Bhukku’.

The film begins in London where Arjun (Arya), a disco Jockey, leads a happy life. Also there is Anu (Shriya), who completes her MBA. One day, Arjun is forced to come to his native village in Karaikudi to ensure that his ancestral property is not sold.

Also Anu too is forced to come to Madurai to meet her father who gets hurt in a mishap. The two strangers come together in a train. There begins their journey towards their respective destinations.

Meanwhile, a diary of Arjun's father pops out from his bag. He browses through it to understand his dad's love life. In flashback, the movie goes back to 1985. It is revealed that Sekar (Arya) returns to his village after getting selected as a Police.

He falls in love with Meenal (Preeta Rao). But when their romance comes to light, Sekar's family resists as caste comes in between. A dejected Sekar leaves to Police Training.

There he gets acquainted with Ammaiappan (Anoop), an innocent youth who is his colleague. He comes to know that Ammayappan is in love with his uncle's daughter. Sequence of events reveals that both love the same girl Meenal.

Meanwhile cut to present, Arjun and Anu after crossing several hurdles in their journey reach their respective houses. Now they realise that they have fallen for each other. Meanwhile a twist in the form of Anu’s father ensures all well end's well.

Arya is cool and casual. As father he is more sedate and cool, while the son is vibrant and bubbly. He is impressive in both acts, while Shriya plays her role with charm. Shriya, the beauty with brains, has delivered a commendable performance. Her expressions are noteworthy and in song sequences, her steps are something which leaves us in awe.

Preeta Rao passes the muster. Santhanam who appears in a separate comedy track is little disappointing.

Though Colonial Cousins Hariharan and Leslie have disappointed with their songs but for a couple of numbers, Pravin Mani's background makes it up. Cinematography has presented the modern London and the traditional Karaikudi in their typical style.

Costumes and art work are the two other highlights of the film. It seems the costumer and the art director worked with perfect understanding to give the feel of London and Karaikudi with their works.

Manikandan has tried to ensure that the movie has no dull moments. However at many places the scenes provides one a deja vu feel. Thanks to Arya's breezy performance, ‘Chikku Bhukku’ is cool to watch.

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Tha - Give, forgive Movie review

Perhaps inspired by the success of Sasikumar, Samuthirakani, Pandiraj and Sarkunam likes, a bevy of filmmakers are entering Kollywood with realistic stories set in rural milieu. R K Surya Prabhakar is one more in the list.

In ‘Tha’, the director who once assisted Samuthirakani has presented the tale of a group of friends with the main focus on the role played by debutant Sri Hari.

And it’s not just Sri Hari the fresher, but everyone from the producer to the heroine to the music composer.

Surya (Sri Hari) is a good-hearted tough guy who spends time with his set of friends at a village near Coimbatore.

He hates love till he gets a piece of advice from the sister of his friend, for assaulting her boyfriend.

This incident changes Surya’s attitude towards women and his parents start the bride hunting. They finalise Jothi (Nisha), a family friend’s daughter.

Both slowly start loving each other and everything goes well till Surya develops suspicion on Jothi for silly reasons. When he realises that the fault is on his part, everyone is ready to forgive him. But he decides otherwise. And what follows is an unexpected climax.

Sri Hari as Surya are apt in the roles of a rustic youth. Though Nisha is beautiful, she looks little alien to the character she has played.

New guys (Benito, Madhan, Shanmugam, Vettrivel and Govindan) as Sr Hari’s friends are apt. Subramani and Vasanthi, who play the protagonist’s parents, make the film work better.

Music by Sri Vijay reminds Ilayaraja. V S Devaraj’s camera work is good. With linear narrative in flashback, the film has some patience-testing scenes and abruptly-ending sequences. But you can’t avoid the feeling of having read a good short story while coming out of the theatre.

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Kanimozhi - Romancing romance Movie review

‘Kanimozhi’. It is a popular name in Tamilnadu for reasons known to all. A movie carrying such a powerful title evoked great curiosity among the audience. Starring Jai in the lead and directed by Sripathy Rangasamy, a former associate of Venkat Prabhu, ‘Kanimozhi’ lives up to expectations, but only in parts.

Produced by T Siva of Amma Creations and Sona of Uniq Productions, the movie is a romantic entertainer. Unlike commercial ventures where the hero and heroine meet each other and start romance, ‘Kanimozhi’ deals love in a different manner.

It explores love in two different perspectives. And the movie has some lighter moments thanks to Jai’s one liners. It begins on a slow note to gather momentum as it progresses. The live sound and some catchy background score by Suresh Chakravarthy worth a mention.

Jai is in his usual self playing with ease. Unlike his earlier films, he plays a full-fledged romantic youngster. He tries his hand at comedy too. Vijay Vasanth plays a prominent role while ‘Rocket Singh’ fame Shahzhan Padamse plays Jai's ladylove.

Jai is a viscom student who leads life like any other youth. He spends all his time with his classmates. He comes across a young girl (Shahazn Padamsee) and falls in love with her. Fearing to open his heart to her, he keeps his love within his heart.

On the other side, there is Vijay Vasanth, who is also crazy behind her. He unlike Jai is open and daring in all his approach. What happens after this? Who gets the girl is what ‘Kanimozhi ‘is all about.

Jai impresses. So is his friend Michael. Vijay Vasanth tries his best to utilise the opportunity. Shahzhan Pdamsee is mismatch as she lacks emotions. Music by Satish Chakravarthy is good especially the ‘Muzhu Madhi…’ number.

Director Sripathy has tried his best to move away from regular cinema in his maiden venture itself. And succeeds in his attempt to a certain extent. Good in parts, ‘Kanimozhi’ may not fulfill your expectations. But at the same time, it is not a total disappointment.

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Nandhalala - Mindblowing & Marvellous Movie review

Where to start? What to say? What not too? A sense of joy, solitude, despair and fun among other things run through one’s mind while watching Mysskin’s ‘Nandhalala’. After a long wait comes the movie which is nothing short of a marvel on screen.

At a time when commercial movies are considered watchable, Mysskin has rendered a film that combines all elements of movie making, which makes one gel with each and every character on screen.

A taut screenplay, scintillating shots and above all the flawless background score by Illayaraja sets up the momentum. A rare attempt on big screen, ‘Nandhalala’ goes on to say loudly that all hope is not lost in Tamil cinema.

Such movies show that the industry is still a director’s medium and those who know the language of cinema can render a classic without compromising on commercial values.

One of the very few full-length road films in Tamil cinema, the story of ‘Nandhalala’ is simple and straight forward. It’s the journey of two persons seeking to see their mothers, who had left them long back.

They come across various faces, emotions and nerve-wrecking experiences in the journey. A sense of joy and sorrow runs through our veins as we start to travel along with them.

Unlike Mysskin’s earlier attempts, which were loaded with action and naach-gaana, ‘Nandhalala’ kindles our soul straightaway. The complex characters, simple human faces and the funny encounters sustain interest all through. The movie doesn’t boast of macho-man stuff, lengthy dialogues or crass comedy. It is straight from the heart to touch our brains.

Baskar Mani (Mysskin), a mentally-challenged youth manages to escape from an asylum with the sole motive to reach his village and question his mother whey she dumped him there.

Aggi (Ashwath Ram), a school student brought up by his grand mother, comes to know that his mother is working in a village. So without informing his grand mother, he leaves the house on a journey to meet her.

At one point, the mentally-challenged Baskar and Aggi meet. They become friends. They set out together to fulfill their dreams. The travel they make on the road gives them many experiences.

On the way, the two comes across one commercial sex worker (Snighdha), who has none to care for. She joins them. They meet contrasting incidents in their villages. Eventually a shock awaits both Baskar and Aggi. The value of true love and care is underlined in a riveting climax.

Three cheers to Mysskin not just as a director but as an actor too. He brings out right emotions. Enacting a mentally challenged youth is no easy task. Especially towards the second half, Mysskin makes us cry and relate ourselves with his character.

Ashwath Ram impresses as a young boy yearning for mother's love. He is cool and casual in his act. The young kid has understood the burden on his shoulders and delivered it well.

Snighdha as commercial sex worker lives up to her character. Without makeup, she is there evoking right emotions. A host of new faces in the movie identify themselves with their roles. Watch out for actress Rohini and Nasser playing cameo.

The scene stealer is Illayaraja. The maestro has given flesh and blood to the movie. One wonders when was the last time we have seen the background score in a film evoking tears in our eyes. His good use of symphony orchestra is apt. Watch out for an 'Amma' song by the Isaignani in the movie.

Cinematographer Mahesh Muthusamy brings perfectly what Mysskin has conceived. The wide lens used by him to narrate the tale of two on a journey is amazing. His camera speaks a lot.

Due credit should be given to Ayngaran International for gathering guts to produce a film that is far from the madding crowd. Mysskin seems to have taken Tamil cinema to a new height. Hopefully the rest will take a cue and follow him. The film may be slow, but it is steady and wins the race too.

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Magizhchi Movie Review

Neela Padmanabhan's 'Thalaimuraigal' is considered as one of the top ten novels in Tamil modern literature by critics for it throws light on human relationships in an interesting manner with gripping sequence of events.

Director Gowthaman deserves pat for ensuring that the charm of the novel is not spoilt when he made it as a movie in 'Magizhchi'. Quite appropriate to the title, the movie movies at a pace that is engrossing and stresses the need to respect relationships. More than dwelling on the story, the film aims at chronicling the lives of few characters that we see in our daily life. Set in Iraniyal village, the movie revolves around Chettiyar community.

Describing the flashback through paintings in the beginning itself, the director promises that it would not be a routine affair. There are no cinematic clichés be it the way the hero or the heroine is introduced. Gowthaman ensures that all is at ease.

The movie revolves around Thiravi (Gowthaman) for whom his sister (Karthika) is everything. He lives a contended life with his parents, grand mother and sister. He also gets the job of government teacher in his village.

And Thiravi has a love affair too, with Kuzhali (Anjali). When everything goes well, trouble breaks out in the form of Sevatha Perumal (Sampath Raj). Belonging to the same caste, he marries Thiravi's sister. But within few months of his wedding, he sends her back to Thiravi's house alleging that she cannot mother a child.

The incident results in major repercussions in Thiravi's house and the impact is so much that Kuzhali is forced to marry an outsider by her parents. Thiravi's efforts to strike peace in his sister's family end in vain. When he feels everything has slipped from his hands, his friend (Seeman) comes to his rescue.

As the movie progresses, one gets the feel of browsing through pages of a novel. The sequences are narrated in an interesting manner by the director. He also burdens the responsibility of playing the lead role. At places he reminds actor-director Cheran.

Anjali combines glamour and performance. She is impressive as Kuzhali. Karthika as sister is dignified and diligent. Sampath Raj plays a baddie, but with no cinematic clichés. Prakashraj, Ganja Karuppu and Sukumari fit the roles well.

The highlight of the film is Vidyasagar's music. Earthy and rustic, the songs are a blend of melody and racy beats. On the flip side, the movie goes melodramatic at many places. The scenes are lengthy needing an urgent trimming.

On the whole 'Magizhchi' is a bold attempt by Gowthaman and would set a fresh trend for movie genres to follow.

--
Regards,

Jeyasithar R
(www.CO5.in)

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Mandhira Punnahai Movie Review

Director Karu Palaniappan is known for coming out with movies woven around human relationships. Obviously in 'Mandhira Punnahai', which is directed and enacted by him, he dwells on his favourite subject. Unfortunately, perhaps shouldering a double burden has taken a toll on the film.

The latest to join the bandwagon of filmmakers donning the grease paint, Karu Palaniappan has chosen a script that doesn't demand macho-man stuff or any heroics, a safe bet for his first venture as protagonist.

He has Meenakshi, who did some glamour roles recently, to play the female lead. Santhanam provides the comic relief, while Thambi Ramiah and Rishi do form part of the cast. But all these things, which put together as a film, fail to do any magic.

Though Karu has relied upon the script, yet the pace at which the movie progresses is its weak link. The story settles down only after a while and the dragging second half does no good.

Kadir (Karu Palaniappan) is a shrewd architect. But he has no principles in life and leads it in his own way. Hated by one and all for his way of living life how it should not be, everyone fears to come close to him.

Enters Nandhini (Meenakshi) who works in a car showroom. Kadir does the architectural plan for the showroom and both meet in the process. Impressed by Kadir, she falls for him. Kadir sees his mother's mannerisms in her in certain situations and love blossoms.

But a twist and turn in the script takes the story to a new place. What transpired between the two is the climax.

Karu Palaniappan has tried his best to live up to the role. Unfortunately he misses out on his body language. The much needed pep is missing in his role. It is refreshing to see Meenakshi donning a different character. She has a major say in the script, which she seems to have utilised well. Santhanam's comedy sounds clichéd at many places.

Vidyasagar's music and Baskar Sakthi's dialogues are the USPs of the film. Both are good but a weak execution takes away the sheen. Ramnath Shetty camera captures Chennai well.

Too many loose-ends and a dragging second add no value to the movie. Produced by Indira Films, 'Mandhira Punnahai' is a movie which carried a lot of hype and expectations but fizzles out to be an ordinary fare.

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Regards,

Jeyasithar R
(www.CO5.in)

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Nagaram Movie Review

Sundar C seems to have started from where he left in 'Thalainagaram'. Quite like his maiden heroic venture, 'Nagaram' too is a story of a convict, who wants to live a reformed life, but forced to go back to his old ways.

Movies directed by Sundar C always had good mix of all commercial ingredients. So is 'Nagaram' with comedy, romance and action. Though it is more similar to 'Thalainagaram', the scene is set in a different place here.

Sundar, who has directed the film besides playing the lead role, has captured the functioning of underworld operating in Chennai, mafia that controls harbour and fishing hamlets, in a vivid way. He has handled a huge star cast and the film moves at a fairly interesting pace.

Gate Selvam (Sundar C) is stabbed and is struggling for life. In the hospital bleeding profusely he recalls his past. He is convicted for a crime and is sentenced to five years imprisonment.

A senior police officer Sakkarai Pandi (Bose Venkat), who is also Selvam's childhood friend, helps him come out of the prison. The jail life brings a change in his life and Selvam decides to earn in right way and lead a peaceful life.

But the society is not willing to allow him to do so. Specially his friend Sakkarai Pandi in the pretext of friendship uses him for all his unlawful activities. Selvam comes across Bharathy (Anuya), a junior film artiste. Coming to know about her life and her courteous nature, Selvam falls for her.

Meanwhile, Sakkarai Pandi incurs the wrath of Kadhar Bhai (Sreenivasan) for trying to take away huge haul of ganja from him. It's now cat and mouse game between Sakkarai Pandi and the gang.

Selvam goes hammer and tong to help save his friend. But when he comes to know the true nature of his friend, all things go awry. What happens in Selvam's life after that forms the climax.

Sundar C plays the role with consummate ease. He is good at romance and action sequences. Anuya is tailor-made for the character. Sreenivasan revels as baddie, while Bose Venkat does his part well.

Vadivelu as Style Pandi, in a separate comedy track, evokes laughter. George, Vichu, Ponnambalam, Besant Ravi and Nalini also form part of the cast. Music by Thaman is foot-tapping. But the loud re-recording could have been avoided. Thalapathy Dinesh's stunts deserve special mention.

Produced by Kushboo Sundar, 'Nagaram' is bit lengthy in the second half. It's a new wine in an old bottle. But the taste is good, however.

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Jeyasithar R
(www.CO5.in)

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Mynaa Movie Review

Love stories never failed to capture the admiration of the masses. The romance, the travails and the struggles of the lover couple have always won the nod of the film-buffs. And it is doubly so when the story has close resemblance to reality.

Director Prabhu Solomon, who made films like 'King', 'Kokki' and 'Lee', has rendered a touchy tale of romance in 'Mynaa', which is earthy and emotional from the word go. When hero-centric films are holding sway in Tamil cinema, the filmmaker deserves guts to churn out a movie that is centered on a girl.

As the promos suggest, 'Mynaa' speaks loud about the journey of love. Set in a village on the high altitudes of Tamil Nadu-Kerala border, the film throws light on the innocence, trust and the lifestyle of people in the rustic lands.

Prabhu Solomon in the company of cinematographer Sukumar has presented a treat to the eyes. Though he has a host of lesser known star cast, the artistes get under the skin of their respective roles, giving it an authentic feel.

Vidharth, who made his debut in 'Thottupaar', plays the male protagonist while Amala of 'Sindhu Samavali' fame dons the role of his lover girl. But for Thambi Ramiah, almost the entire cast is fresh and gives the movie a new look. And the script too is equally racy and taut.

The movie begins with Suruli (Vidharth), lodged in a sub jail in Theni, recalling his past life. His father is a callous person and he had lost his mother at his birth. He drops out of the school and earns his livelihood working as a cleaner for a vehicle.

He takes pity on a young mother and her daughter Mynaa, who are forced to come to street due to poverty. Suruli helps them take refuge in a house in his village. Slowly, he gets acquainted with Mynaa (Amala).

He even helps her join a school and pursue her education. As years roll by, they grow young adults and get fascinated for each other. However, coming to know of their affair, Mynaa's brother plans her wedding with a rich man in the neighbouring village. Suruli picks up an argument with Mynaa's brother and assaults him.

For this 'crime', Suruli is lodged in the prison. A day before his 15-day remand comes to close, he decides to escape from the jail. This sends shockwaves among authorities and the onus now falls on Bhaskar (Sethu), the warden and his associate Ramaiah (Thambi Ramiah) to nab him.

They set out to Kurangani village in search of him. At the village, Suruli manages to halt the wedding of Myna and flees from the place. But fate lands him in Bhaskar's hands. Now they begin their journey from the village to Theni. They face many challenges and difficulties on their way back.

Slowly the bad image of Suruli in the minds of Bhaskar and Ramaiah is erased and they admire him. When everything seems to go well and the policemen plan to help them get married, a twist comes in Mynaa's life in the form of Bhaskar's wife and her brothers. The rest is a rivetting climax which ends on an emotional tone.

Hats-off to Amala. The young actress has played her party exceedingly well. As a love-lorn girl, she shows right emotions. Also in the latter part when she runs around for her life and love, she is right there giving her best.

Vidharth as ruffian resembles Karthi in 'Paruthiveeran'. His cool body language and dialogue delivery add strength to the character he has played. Prabhu Solomon seems to have extracted the best from him.

Sethu as Bhaskar is a pleasant surprise. He is tailor-made for the character. A well-built physique comes to his rescue. Thambi Ramaiah plays a complex character, which not just provides laughter but at few places makes on go emotional. The rest of the characters are adequate.

Giving Prabhu Solomon good support are cameraman Sukumar and music composer D Imman. The former has captured the locales in Kurangani village in Kerala border with its pristine glory, while the latter has moved from his typical racy musical stuff to melody. Especially the songs 'Neeyum Nanum…' and 'En Usirae Neethandi…' is apt for the theme of the movie. Also the background score is appropriate.

Due credits should go to Udhayanidhi Styalin. His Red Gaint Movies has already won the reputation of producing quality themes. Quite appropriately, he has presented this movie produced by Shalom Studios in association with AGS Entertainment. For those who are tired of commercial masalas on Tamil cinema 'Mynaa' comes as whiff of fresh air. It's going to be a happy Deepavali for Solomon and his team.

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Regards,

Jeyasithar R
(www.CO5.in)

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Vallakottai Movie Review

A rehash of Arjun's and A Venkatesh's past films is 'Vallakottai' to you. Hardly one could see a new attempt in this movie, which is a masala mix loaded with stunts, songs, sentiments and humour (?) in an overdose.

Even the getups Arjun don in the film are inspired by 'Nayagan' Kamal Haasan, 'Krissh' Hrrithik Roshan and 'Pirates of the Carribean' Johnny Depp. But still you can enjoy 'Vallakottai' if you are ready to least mind about logic and game for a commercial cocktail.

Vayuputhran aka Muthu (Arjun) comes out of the prison with a promise to his jailmate Bala (Prem) that he would take care of his ailing brother Sathish, who is about to undergo a surgery.

After visiting Sathish in the hospital, Muthu goes to Vallakottai (from where he gets an assignment) to earn money. His job is to surrender for the murder of Eswarapandian (Suresh), the jameen of Vallakottai, which is to be committed by Eswarapandian's archrivals Nachiyar (Ashish Vidyarthi) and his brother Sethupathi (Vincent Asokan).

At Vallakottai, Muthu meets Anjali (Haripriya) and Veera Sangili (Ganja Karuppu). As scenes unfold, he falls for Anjali and also comes to know that Eswarapandian is harmless and Nachiyar is the one who is to be punished.

Even as acting as a servant of Nachiyar, Muthu wears different getups in the name of Vayuputhran and teaches a lesson or two to the baddies. In the meantime, Bala gets released from prison and what follows is a twist.

Arjun proves that he is 'action king'. His fit body and the stunts he do with the help of it are awesome. But all goes waste in a script is that is so weak. Haripriya is beautiful while 'comedy attempts' by Ganja Karuppu and Sathyan (as Giri, a friend of Muthu) go haywire.

Ashish Vidyarthi shouts well. But the credits go to the dubbing artiste. Vincent Asokan has little scope to perform. There are Vennira Aadai Murthy (as jailor Terror Thennarasu) and Livingston (as an advocate, who is the brother-in-law of the villain) in minuscule roles.

There is nothing much to say about music (by Dhina), cinematography and editing as everything when put together make one squirm on seat.

To sum it up, Vallakottai starts on a brisk note, loses fizzle as it progresses and ends as damp squib.

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Regards,

Jeyasithar R
(www.CO5.in)

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Naane Ennul Illai Movie Review

Veteran actress Jayachitra has taken up the mantle of making a movie that showcases the multiple talents of her son Amaresh Ganesh.

In his debut venture, Amaresh has not just played the lead role but composed music for six songs besides writing lyrics for a couple of numbers. The confident mom has ensured all is centered on Amaresh in a script that has no logic or magic.

While Amaresh plays a youth who strives to make a mark for him in the society, Arya Menon is the heroine and Raghav dons the role of a baddie. Nasser, Saranya, Radha Ravi, Kuyili, Lavanya form part of the cast with guest appearance by directors P Vasu and K S Ravikumar.

Amaresh (Amaresh Ganesh), a student in a Chennai college, loves his classmate Ishwarya (Arya Menon), who's mother (Kuyili) wants her become an actress. There is one Ranjith (Raghav) who has an eye on Ishwarya.

This leads to enmity between Amaresh and him. Amaresh's father Vasu (Nasser) often chides his son for being callous and irresponsible in life. In the meantime, Ishvarya becomes a heroine in Tamil cinema and soon Amaresh too gets a chance from director P Vasu to act as hero in his film.

But Ranjith ensures that his dream is short-lived. However determined to succeed, Amaresh ends up becoming an actor. Soon he wins accolades from all quarters and even a National award for best actor

There are scenes where Chief Minister M Karunanidhi, director K Balachander appear to make some lengthy speeches about Amaresh. Finally, Amaresh teaches Ranjith a lesson and wins the love of his father. He also ends up marrying Ishwarya.

Amaresh reminds one of Silambarasan at many places. Arya Menon is artificial in the role while Raghav is tacky. Nasser, P Vasu and Ravikumar are the ones who lend some solidity. Saranya in mother's role is convincing.

There are enough clichéd sequences that may drive one to boredom. At many places the film proceeds at snail's pace. Adding to the suffering is a lengthy climax. Had more scenes be trimmed and characters tried their best to perform, the movie could have been a different one.

--
Regards,

Jeyasithar R
(www.CO5.in)

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