'Pizza', an uniquely titled film, has been evoking interests among Tamizh cinema audiences for its refreshing package and interesting knot by the debutante director, Karthik Subbaraj, a former contestant of 'Naalaiya Iyakkunar' series, which involves the supernatural element. Tamizh cinema has a mediocre record when it comes to the horror genre, but well-made films such as 'Eeram' and 'Yaavarum Nalam', gave hopes for the horror-loving folks. Produced by C.V Kumar who churned 'Attakathi' before this has retained the entire team which worked in 'Attakathi' sans the director ! So, is this movie worth the watch ?

Vijay Sethupathi's ticket to the bigger league in Tamizh cinema is this film, and he has taken his chance very well. A very good performance, it must have been quite arduous for him to perform alone in the frames and he pulls it off, effortlessly. Watch him being vulnerable and frightened in the bungalow scenes ! With more challenging projects, this man will definitely climb the ladder of fame and success in Tamizh cinema. Remya Nambeesan, plays a girl-next-door role with modern approaches and she does her part quite well, ably assisting Vijay Sethupathi. The entire supporting cast including Naren, Karuna, Jayakumar, Simha, Pooja, paint artist Veera Santhanam, Kavithasri were very realistic in their portrayals.

Karthik Subbaraj should be applauded for capitalizing the talents of fantastic technicians. The sound designing, which is a very integral part in a horror genre, was brilliantly done with Vishnu Govind and Raja Krishnan doing the mixing and designing. But the main attraction of the sound designing, was the incorporation of Studio 301 Inc, which is based in Australia and also the Sydney Symphony Orchestra. The contributions of Sandro Costantino, Phil Hartl, a master violinist, and Leon Zervos, the sound mastering engineer, whom, have several Oscar and BAFTA nominations as well as several Grammy awards to their credits, that too on a 7.1 surround sound system ! Dhilip Subbarayan's stunt scenes, be it the one shot in the bungalow or on the street-side was very realistic and natural. T.Ramalingam's art work was very neat and contemporary, be it the interiors of the bungalow house or the small-spaced quarters of the lead pair. Leo John Paul's editing is a big asset to the film, because he keeps the screenplay riveting and suspenseful. The transition during the dark, haunted portions were smooth and non-disruptive to the flow of the film. Gopi Amarnath's cinematography was wonderful. His framing for the romance portions were very subtle in nature, but his real talent was evident during the haunted portions, which has no lighting except from the emanated from the torchlight ! Also, the camera movement was smooth and not dizzying, which was a relief for the viewers. Great work by Gopi !

Santhosh Narayanan, who shot to fame with 'Attakathi' tries different genres of music in this film. "Mogathirai", a very blues type of song was well picturized, capturing the romantic moments of the lead pair, and the framing of the camera by Gopi Amarnath during the rain portions were beautiful, with slow motion technique. "Rathiri" and "Engo Odugindrai" were used more of like a background score, with the former appearing during the first half and the latter during the climax. 'Gaana' Bala pulls of a song which is total alien to him, genre-wise which has a very jazz and blues feel to it, which is titled "Dhinakku". The song features as a ringtone in the film and is also played during the end-credits. The background score was very subtle and fresh from Santhosh Narayanan and he efficiently uses the creepy silence factor during the scary portions. 

Karthik Subbaraj's, screenplay was a little slow during the first half, which takes its time to introduce the viewers, to the characters and their dilemmas. But the sequences were penned in an interesting manner, with subtle comic situations and pleasant romance scenes. But he showed his talent and capacity in handling the scary portions very, very well and the shocking climax portion, which has a major twist for the audience, is a true sucker punch ! Brilliant screenplay writing by Karthik !! Though the story, written together with Prasad Ramar, was very simple, but the screenplay was very smartly written by Karthik, which brings a sigh of relief and also smile to the viewers ! The chemistry between the lead pair though, lacks the fire in it and the overall movie leaves a short-film like feel to the viewers, but these are just minor weaknesses in the film, which can be overlooked. 

'Pizza' is definitely a must-watch for the audiences and Karthik Subbaraj is a talent to look out for !! The smart screenplay leaves us guessing in the first half, which leads us to a relieving but shocking climax ! Welcome to Tamizh cinema, Karthik Subbaraj !!

Ratings: 3.5/5 STARS



Director Perarasu, or comically called as 'Oorarasu' for titling his movies based on names of towns and cities, is back with a film which has been long in the making. After his back to back successes with 'Thirupachi' and 'Sivakasi', none of Perarasu's following films made bucks at the box office. Yet, it still amazes to see him churning out movies, and that too without deviating from his usual formulas ! Here, he teams up with Bharath, who himself badly in need of a hit film, in order to survive in Tamizh cinema.

Bharath, appears as a gym instructor in this film, and does what was required by the director. He aptly mouthed all the 'punch' and fiery dialogues written by the director. In order to to be realistic, he has buffed up his physique a little. He dances, fights, emotes and 'wins' the approval of the audience  An archetypal 'commercial cinema hero' ! Sunaina looks okay but she stutters a little with her dialogue delivery, which looks out of sync with the dubbed voice. Rajkiran as an ex-military, was at his usual self. Pandiarajan, Ashish Vidyarthi, M.S Bhaskar, Chitti Babu, Appukutty, Kottachi and etc all were just there for apparently no reasons, except for Ashish who is the antagonist of the film. Its bewildering for us to watch him essaying the same role again and again and again, and yet he still continues to do the beaten-to-death roles without any remorse !

A.Seenu, the costumer of the film did not do his homework well, because the lead pair were dressed in designer clothes, though they were portrayed as ones from the middle-class segment. 'Theepori' Nithya's action choreography was awful  G.K's art work, Jaysankar's editing and Bala's cinematography were all pedestrian. Perarasu decides to take the mantle of music director as well and churns out unnecessarily 7 songs in the film and none of them were interesting ! "Vaana Vedikkai" is a typical Perarasu's hero-intro song, with plenty of dancers and shot around packed streets. "Nee Enakku" was shot in European cities against established landmarks. "Yemma Yemma" was shot in a village-festival environment, with minimal set-work  "Saamikku" and 'Evano Oruvan" were situational numbers, one of a sad situation and the other of an uprising situation. "Adi Vaanavil" a melodious number is also shot on European cities and finally "Vannarapettai" was shot in Binny Mills which resembles like a garage set work and also around some mining areas.

Perarasu's script is poor in quality and taste, very old-fashioned, formulaic, bland and ridiculous. Perarasu sticks to his pattern of screenplay and sketches compilation of scenes containing plethora of emotions. This film makes us skeptical of Perarasu's knowledge of contemporary films, and the latest trends of Tamizh cinema. Is he still trapped in some 'inescapable' time warp ? The tidbits appearing in the film, reminding us of Vijay and Ajith's films with Perarasu gives credence to that doubt.

'Thiruthani' - a shame for the actual Thiruthanigan !!

Ratings: 1/5 STARS



 'Maattrraan' was hugely expected because of the return of the super-successful 'Ayan' combination of Suriya, K.V Anand and writers duo D.Suresh and A.N Balakrishnan (Subha, for short). Plus, K.V Anand and Subha is on a back-to-back blockbuster ventures, after the mega success of 'Ko'. Financed heavily by AGS Entertainments, this film boasts of spectacular locations and heavy visual effects and graphics portion, thanks to the conjoined-twins portion of the script, good music and a good-looking cast. With an A-class cast and technical crew, the trailers and promos suggested a good and exciting, fun ride for the viewers. Worth the wait ?

The current showman and entertainer of Tamizh cinema and the darling of the press and girls, Suriya rocks in his performance as Agilan and Vimalan, the conjoined-twins. He has put in tremendous hard-work  in getting the emotions, body language, dialogue delivery method for the two characters right. He has to differentiate the major and also subtle differences between both the twins and his sincerity and honesty shines  throughout the film. Be it dance, fight, emotions, he pulls it off with ease and its no mean feat, since he has to repeat the acts on a facial/performance capture devices, without any cues ! He deserves a round of applause, but in order to enhance himself as an actor, he should venture out of the city-boy, metro-sexual look and characterizations, and do more sophisticated and matured roles. Anyways, job very,very,very well done ! Kajal Aggarwal, looks much better and sexier, compared to her previous films and she's a breathe of fresh hair. She looks bubbly and cheerful but the problem was, she maintained that for the whole film, (even in emotional sequences) which should have been avoided. Chinmayi's dubbing for her, enhanced the character's intelligent and smart personality, even more. Sachin Khedekar has a big and meaty role to play and he too did a very good job with fine and composed performance. The rest of the cast were pedestrian such as Ravi Prakash, Tara Anooradha, Ajay Ratnam, Irina Maleva, Julia Bliss and etc.

'Maattrraan' has a very, very high technical standards, thanks to the those who are involved. Make-up artist Bhanu's prosthetic make-up for the conjoined-flesh was very authentic with all the nerves and flesh color, with tinges of blood veins. Great work ! Lakshmi Narayanan, the veteran audiographer did a good job, with all the sounds checked in place correctly, but he should experiment and venture out to use more variety of sounds, to knock off the heard-before feel to the movie. Nalini Sriram's costume designing was lavish and perfect, be it the dichotomous fashion sense of the conjoined-twins or even the beautiful Kajal Aggarwal. V.Srinivas Mohan, in charge of the visual effects portion, has done a tremendous job in the VFX department. His correct composition and lighting for the conjoined-twins portion was very evident and only a minute observation will help us to notice the the effects work. His usage of facial/performance capture, and 3D effects techniques, were a big, big boost to the film and without such a technician, it would have been impossible for the crew to do this film. Kudos to him !! Not to forget, Anthony's fast editing especially in the songs and stunts sequences involving the conjoined-twins portion, were crucial contributions for the film, which brought out the effects of the VFX properly to the screen. Peter Hein must have had a tough job in composing the stunt sequences. The conjoined-twins stunt scene in the first half, was thrilling and superbly choreographed, which captured the mood and emotions of the script very,very well. The latter half of stunts in the foreign locations, were very well done too, though it was a bit lengthy. Another feather in the cap for Peter Hein. Rajeevan's set-work was stylish and classy, be it the homes of the protagonist, the cow farm, the entertainment club, the Russian palace and etc. Fantastic job by him ! Soundar Rajan's contribution as a cinematographer was immense, because his homework was extensive in each and every minute detail due to the necessity of the script. His lens captured the beauty of the plethora of locations involved in the film, including the Balkan region in countries like Croatia, Serbia, Albania, Macedonia and especially a large chunk in Russia, Gujarat, Pakistan border and also the cool Norway. His angles and lighting too were very smart and innovative, which further enhanced the look and feel of the film. 'Maattrraan' is a milestone in Soundar Rajan's career !

Harris Jeyaraj's music was not bad but a sense of deja-vu kicks when you listen to the songs. "Rettai Kadhire" is the introduction song of the protagonists and captures their growth and progress in life, through montages. It serves as a platform for the audience to know the difference between both the twins. "Naani Koni" was shot in spectacularly, beautiful locations of Norway. The hills, lakeside and motorway, all looked elegant and classy, plus the lead pair of Suriya and Kajal Aggarwal looked splendid. "Theeye Theeye" was shot in a club atmosphere. The set work was good from Rajeevan, though it had very small space for a club sequence. The lighting was fantastic and Soundar Rajan, Anthony and V.Srinivas Mohan would have toiled for the song, in order to portray the conjoined-twins dancing and romancing the heroine, together ! The 3D composition on Suriya's body was good, and near flawless. "Yaaro Yaaro" is a melodramatic, situational song which features the characters recuperating from a loss, and was presented in montage sequences. "Kaal Mulaitha" is a refreshingly different song from Harris. Rajeevan's Russian palace set was the quintessential grandeur set. It had good choreography involving many Russian dance artistes. The background score was good, but Harris really needs to diversify and do more innovative scoring, if he wants to maintain his fan base and reputation, as a good music composer.

K.V Anand must be applauded for his tremendous hard-work in putting meticulous efforts to pull of the foreign sequences. Together with Subha, the trio has been scripting the next-gen of commercial entertainers, with smart themes and intelligent packaging. Here, they have handled a myriad of unique themes such as genetic engineering, baby designing, drug enhancement research works, political motivations and etc, all into one single script. Though its a brilliant effort, it takes the toll on the audience because, they're good intentions of laying out all the justifications for the proceedings of the movie, stretches or drags the duration of the film, which makes the viewers a little uneasy. Plus, the stunts and songs are to be factored in as well by the audiences ! The story has racy and fiery elements in it, but the dragginess factor, takes out the racy effects. Their writing, be it dialogues of humorous scenes, are charming, intelligent, and naughty, too ! The intentions of pushing in a social message in a uniquely-themed commercial entertainer film, is praiseworthy. Though the trio presented a smart and interesting story with the correct commercial packages, few questions are left unanswered, which leaves some logical loopholes in the film. The USP of the film was the conjoined-twins factor, but that was just a gimmick, in order to pull in the audiences. Also, the trio could have avoided revealing the surprise or major twist of the film much earlier in the film, which actually gives away the excitement factor.

'Maattrraan' is definitely worth the watch. Its an interesting commercial entertainer and also has good social messages intertwined in the script. Hope, K.V Anand, D.Suresh and A.N Balakrishnan continue their quest in coming out with intelligent next-gen commercial entertainers.

Ratings: 3.5/5 STARS



After a sabbatical of 14 years, the evergreen beauty and charmer, Sridevi makes a fantastic comeback through 'English Vinglish'. A family entertainer, this flick is directed by newcomer Gauri Shinde and produced by her husband, R.Balki, the critically-acclaimed director of 'Cheeni Kum' and 'Paa'. Though its a direct Hindi film, it has been dubbed for the Tamizh audience due to the extreme popularity of Sridevi and makes it technically her next release in Tamizh after 26 years ! So, what is it all about? This film deals with a simple premise of a housewife, who is made fun because of her low-proficiency in English and because of that, strives to learn English by enrolling herself in an English course! 

Its an out-and-out Sridevi show, and she has made a stunning comeback ! The veteran just shows why she's one of the best when it comes to acting. The myriad of expressions on her face, her composed dialogue delivery and sensitive performance, makes her too charming and cute to resist. Be it a happy, suspense, emotional or even humorous scenes, she pulls it off all with such ease, she was just mesmerizing on screen. Though her age is evident in her face and shaky voice, she's still a stunning beauty and she made it even more memorable by living the character and enabling us to connect or empathize with her ! Sridevi was sorely missed and hope people would bring her more wonderful and better scripts, to keep her acting chops, active. Welcome back, Sridevi !! She's ably assisted by just nice and fitting characters performed by Adil Hussain, Mehdi Nebbou, Priya Anand, Sulabha Deshpande, Sujata Kumar, Shivansh Kotia, Navika Kotia, Rajeev Ravindranathan, Sumeet Vyas, Ruth Aguilar, Damien Thomson, Cory Hibbs, Maria Pendolino and etc. The icing on the cake was the cool and casual guest appearance of Ajith Kumar ! He makes his presence count with an important advice and left a mark with his subtle, charming and enjoyable cameo. 

Sabyasachi's designer sarees were elegant and beautiful, which further highlights the beautiness of Sridevi. The rest of the cast too had very apt and fitting costumes done by Vera Chow, Aarti Patkar and Nikita Raheja. Resul Pookutty, along with Amrit Pritam takes care of the sound designing, and their class work was evident in those minute and subtle, tingling sounds. Mustafa Stationwala's artwork was minimal and efficient. Be it the home in the Manhattan and the classroom environment, or even the wedding set for the climax, all looked natural and not over-the-top. Hemanti Sarkar's editing, was crisp and neat and his work in the beginning credits sequence was, noteworthy. Laxman Utekar's cinematography was simple, yet pretty and highlights the mood and beauty of Manhattan and New York, which were captured very well. 

Amit Trivedi's music fits the mood and style of the script. All the songs were shot in montage sequences, since this is not an ordinary commercial film and also the script doesn't require any. "Dhak Dhak" was shot in a slow motion and highlights the emotional roller-coaster ride Sridevi encounters before leaving to the States. "Manhattan" as the title suggests, was shot in and around the beautiful parks and city landscape of Manhattan. "English Vinglish" captures the light-hearted moments of the English lessons taught in the centre which Sridevi attends, involving the plethora of ethnically-different based characters. "Alai Payuthey" is an emotional song, picturized on Sridevi who encounters and unwanted problem. "Ummachchi Ummachchi" is the final song, picturized against a typical Indian-American wedding ceremony with all the characters involved in the final dance and with minimal set work. 

Gauri Shinde has crafted a very simple and honest script with just nicely paced screenplay and brought the best out of Sridevi. Special kudos to her, especially for this ! The film is replete with plenty of heartwarming, humorous and emotional sequences, which makes the film to have a natural and humanly feel to it. The main success of the screenplay is the entire focus on the protagonist and Gauri Shinde successfully, keeps the momentum going and did not dilute or deviate the story towards unnecessary sequences. She has etched out natural and colorful characters, given good dialogues to them, above all, made us empathize with the protagonist, for the whole duration of the film ! Hariharan should be appreciated too for his assistance in the Tamizh dialogues. The only minus point of the film, is that its a dubbed version, which means, no lip-sync and the Maharashtrian lifestyle portrayed in the film, is alien to the Tamizh natives. These small issues, may make the viewers to feel a little disconnected with the film. 

Overall, 'English Vinglish' is a heartwarming, cute, beautiful and a family-friendly film, which can and will connect with every viewers who watches it. Take a bow Sridevi, take a bow !!! 

Ratings: 3.5/5 STARS



The entire team behind the successful, 'Deiva Thirumagal' is back yet again, with some changes to the cast list. A.L Vijay, has penned an action script this time and he looks to be smitten by a real life personality, Daniel Kish who is an expert in echolocation and  President of World Access for the Blind, a non-profit founded in 2000 to facilitate "the self-directed achievement of people with all forms of blindness" and increase public awareness about their strengths and capabilities (Wikipedia). A.L Vijay has sketched protagonist Vikram's character, using Daniel Kish as an inspiration,  which is a unique presentation in Tamizh cinema. So, how did A.L Vijay and Vikram combine this time, amid a heavy marketing spree by the producer, UTV Motion Pictures.

As, with any A.L Vijay film, 'Thaandavam' too has a big cast and that too, a star cast ! Vikram, whose last release, 'Raajapaattai' was a washout at the box-office, comes up with a sincere and excellent performance as the intelligent and brilliant RAW officer. He has less dialogues to mouth, this lack of dialogue delivery is covered with fantastic expressions through his eyes and body language. He enacts his scenes in a very subtle and refined manner. His character looked very real and convincing and also credits to A.L Vijay for incorporating the inputs of Daniel Kish to enhance the look and attitude of the character Vikram, enacts. As usual, Vikram rocks ! Jagapathi Babu, the veteran Telugu artiste, makes his debut appearance in Tamizh cinema through 'Thaandavam' and he too notches a very composed and neat performance, though he appears sporadically during the duration of the film. Anushka, was a revelation here, with a calm and beautiful performance. A.L Vijay taps in the other side of Anushka, that is the soft and beautiful side of her acting. She shares a crackling and wonderful, matured chemistry with Vikram, though her height makes it a little obvious, that she towers above Vikram ! Plus, Deepa Venkat's dubbing for her blends in perfectly for the character played by Anushka. Amy Jackson, comes in for the 'pretty-doll' role and has done what can be expected from such roles. She should be appreciated for her near-perfect synchronization with the dubbed voice, done by Savitha, which has plenty of Tamizh dialogues, since her character has a mixed parentage of Tamizh and English. Nassar and Santhanam takes much of the remaining screen time among the big lot of character artistes, with the former in his best elements as usual, with an astute performance and the latter with his rocking comedy sense and dialogue delivery. There's a big army of supporting cast which gives the film plenty of dramas and events and nearly all of them are experienced and fantastic performers, such as Saranya Ponvannan, Lakshmi Rai, Kota Srinivasa Rao, Sayaji Shinde, M.S Bhaskar, Thambi Ramaiah, Delhi Ganesh, Sujitha and etc.

'Thaandavam' is one of the technically-better made movies, which has released in Tamizh cinema this year. The usual suspects, which are associated with A.L Vijay are here again and all of them have given very good outputs. Falguni Thakore and Devyani Kapoor scores full marks for their costume designing. Vikram, Anushka, Amy Jackson and Jagapathi Babu were looking uber-cool and stylish throughout the film. Manohar Verma handles the action scenes very well. He has done good homework in incorporating the echolocation factor in composing the stunt sequences and Vikram adjusted his body language very well. The park scene was the best of the lot. R.K Naguraj's artwork was extensive. Lots of props would have been used for the London shoots and during the New Delhi portions. Nothing extraordinary from him, but neat and nice work. Anthony's editing was flawless but he could have trimmed the movie more because of the sluggish pace of the screenplay. Nirav Shah does a splendid job in capturing the beauty of London's city landscape. His lighting comes into much appreciation for following the mood of the script and screenplay. The superb cinematographer was at his best form, as usual ! Great work by Nirav Shah in utilizing the RED Pro 5.0 camera for his cinematography !

G.V Prakash Kumar, who's combination with A.L Vijay has always been a success  delivers a neat work here, though not all songs are catchy. "Yaaradi Mohini" is the introduction song of Amy Jackson and was shot in soft lighting amidst beautiful locations of London such as Trafalgar Square, Piccadilly Circus, Big Ben, the Westminster Parliament and etc. Amy looked pretty and hot in her lovely costumes, but she struggles a little in the dancing category. "Adhigala Pookal" is a short number, mostly shot in montage sequences in New Delhi, depicting the early life of marriage-hood between Vikram and Anushka's characters and a piano theme piece of the song, appears mostly in the first half, with Vikram playing the tune in a church. "Will You Be There", is a dream song for Amy Jackson, who starts to fall for the hero, Vikram. It was shot mostly in slow-motion montage sequences, with song establishing shots on Amy Jackson. "Anicham Poovazhagi", is a colorful song with a marriage backdrop and has plethora of character artistes involved. This song is a semi-dream song, ending with the marriage between Vikram and Anushka. "Uyirin Uyire" was beautifully shot in the Dover hills under sunset and Nirav Shah used the chopper to capture the beauty of the hills and also the sand artwork utilized for the song. Anushka and Vikram were adorned with simple but beautiful costumes. The pick of the lot among all the songs is the duet, "Oru Paadhi Kadhavu". This was shot in montage sequences, showing the blossoming of love between Vikram and Anushka and is replete with scenes of sweetness and cutesiness, throughout the song which ends at the Taj Mahal. Beautiful cinematography by Nirav Shah in this song. G.V Prakash is improving in his background score and the "Shiva Thaandavam" theme is a complement for the script.

A.L Vijay's marketing technique of emphasizing echolocation as the USP of the film, was a clever move but that factor was just a gimmick, as once the film ends, viewers will realize that its after all, an average revenge flick. The plus-points in A.L Vijay's films are the sensitiveness and maturity in handling the script. But what pulls down the film is its lethargic and slow narration. For an action film, this level of pace, is unacceptable because boredom will start kicking in as the film progress into the later stages, but the director tries to salvage the attention of his audience, by including a major twist in the second half of the film. Though the twist is welcomed, the justification for the twist falls flat and is not entirely convincing. Also, there are some obvious logical flaws in the script, which are very much questionable and not thoroughly convincing. The dialogues though, are very well written and articulative.

'Thaandavam' is a film with high in standards, when it comes to technical quality and also with good performance from the lead artistes but is hampered by a slow screenplay and weak story-line  A.L Vijay must work harder and smarter, if he wants to be noticed in the coming years.

Ratings: 3/5 STARS



Artiste Priyamani makes a comeback to Tamizh cinema with a different and peculiarly-themed film. The actress has bagged the role of a conjoined-pair of twin sisters, which can help her to exploit her acting chops even more and the fact that Suriya's big-budgeted 'Maattrraan' also dealing with such a concept, it is favorable for her to handle a hot-for-this-season. Director Ponkumaran, a former assistant of K.S Ravikumar and K.Bhagyaraj, makes his debut in Tamizh cinema through this film. 'Chaarulatha' is the official remake version of the successful Thai-horror film 'Alone' starring popular Thai artist, Marsha Wattanapanich, which was released in 2007. A typical horror genre is not a favored or successful genre in Tamizh cinema and Ponkumaran decided to test his skills with this genre, though its his first release in Tamizh.

As it is, the whole film is based on Priyamani's conjoined-twins role and she carries the whole film on her shoulder. She appears in nearly all the frames and proves that she is an actress with substance and her acting capability should be utilized fully, by directors. Its not only her looks which differentiates between the two sisters, but its the expression, body language and also her excellent voice modulation, which gives color to the characters. Plaudits to her as well, for taking the strain to perform in a difficult and hassle-full role of a conjoined-twins. The rest of the cast such as Saranya Ponvannan, Seetha, Skanda, Ravi Shankar, Aarthi and Master Manjunath are just there to accompany Priyamani and to serve their respective purposes.

There's nothing much to shout about the film's technical crew. Roshini Dindar and Madhu Sharma did their job as costume designers , Sethu's sound designing was not so exceptional, Don Max should be appreciated for keeping the flow of the film smooth and keeping the film short, in the editing department. 'Different' Danny as stunt master would have just helped the team to cope with some minor beating sequences or portions. Jupiter Animation Studio takes care of the graphics work and, though its admirable that they managed to show Priyamani as conjoined-twin with minimal budget, the climax portion was very amateurish and looks fake. Don Max did justice to his work by editing the film short and crisp. Mahen B.Kere's artwork was simple but the house set was not so convincing and looked obviously like a set-work. Maybe no fault of his due to budget constraints, but Mahen could have been better with the designing. M.V Panneerselvan was the man who should be credited for bringing out the conjoined-twins portion well and to make it look authentic and believable. His lighting and angles were good enough to bring out the necessary dark look for the film. Sundar C.Babu's music score was below average. None of the songs were hummable except for the violin theme track. "Ottikitte Azhagu" plays during the opening credits sequence. "Ondraga Mulaithom" shows the growth and upbringing of the conjoined-twins and also serves as a platform to show the differences between their characters. "Idaiyilla Kadavul" is a duet song picturized on the lead couple, dancing and romancing with a couple of dancers backing them up. It has some good shots of picturesque Srinagar. The background score was good in certain portions but as the film travels, it was less interesting and invigorating for the film.

Director Ponkumaran, who makes his debut in Tamizh cinema, gave credits to the original Thai writers of the script, Banjang Pisathanakun and Parkpoom Wangpoom. Sadly, his screenplay writing and direction skills are a little questionable because, the end product was very bland and most importantly, failed to contain the essential factors associated with a horror film - thrills and fear factors ! He thrusted the script with unwanted comedy sequences, song sequences and some romance sequences too, which lacked any sizzle due to the non-existent chemistry between the lead pair. There's no synergy among the sequences and there are obvious plot holes and gaps in the script, which the director fails to correct. The suspense element in the film falls flat and does not shock the viewers as it should do. G.Sabarimuthu's dialogues too were just pedestrian and nothing to note about. Even an average film maker can come up with such script or dialogues !

'Chaarulatha', a bland and non-spooky horror movie. Wonder what the original writers would say after watching this below average product.

Ratings: 2/5 STARS