The explosion of daringly innovative new directors in Tamizh cinema, continues with another fellow alumnus of "Naalaiya Iyakkunar", Nalan Kumarasamy. Known for his unique style of attempting black/serious comedy, Nalan has teamed up with the potential 'Superstar' of shoe-string budgeted different films, Vijay Sethupathi, for his debut mainstream cinema venture. A bizarre title, talented crew, a visionary young producer in C.V Kumar, and influential distributors in Studio Green, there could be no other better platform for Nalan to launch himself into the stratosphere of Tamizh cinema.

To start off with the cast, where else can we open up other than the man of the moment, Vijay Sethupathi. As Das, the leader of the motley, chaotic 'kednaping' crew, he should be commended for choosing to play a role which is off much senior to his actual age. His paunch and looks have been very well sketched out and he fits into the role as perfectly as a glove. Brilliantly, composed performance ! Perfect body language added more sheen to his acting delivery. This boy's place is definitely cemented and he is for sure here to stay as a poster boy of the unique small-budgeted films. Way to go Vijay !! The pretty and petite Sanchita Shetty, a literal dream girl, was near-perfect with her dialogues and lip-sync but she could work out more on her body language to improve her performance. The other three crazy guys of the 'kednaping' crew were fantastic as well. Simhaa's soft image worked out very well for his character, RJ Ramesh was brilliant with his voice modulation and Ashok Selvan's expressions were spot on. The rest of the cast such as the incorruptible politician M.S Bhaskar, the psychotic silent-killer Yog Japee, the straight-in-the-face Radha Ravi, the scheming son Karunakaran and whacky henchman cum gangster Aruldass, were too good in their roles.

'Soodhu Kavvum' is definitely one of the films to have had all of its technical department, deliver fantastic outputs. Costume designer Shiva did a wonderful job with Vijay Sethupathi's costumes, which gave Vijay the dirty, odd look. Whereas Sanchita was looking very pretty in Reshma's costume designing, which was a necessity as she is an 'dream-girl' after all ! 'Billa' Jagan's stunt choreography was very professionally done, with precision executions, which was a difficult thing to do, since Yog Japee's stunts had changing backdrops ! Not to be left, the bar fight sequence, was also well choreographed. Vijay Adhinathan's art direction was veridical in detailing. The dingy, half-torn, home of the lead character, which was filled with odd props, the moderately decorated house of a minister, the warehouse setting, and also for the "Kaasu Panam" durbar sequence. Everything was bang-on and its laudable achievement, since he has done it, with moderate budget. Leo John Paul's editing was sharp yet smooth. The transition from one event to another was smooth and his hard-work was evident throughout the film, with many cut-shots and montages pierced together into particular sequences. Brilliant work ! B.Dinesh Krishnan's cinematography complemented the mood and feel of the directors vision of his script, which gave the film a neo-noir look. His lighting and angles for many sequences were unique touches, which added more fun element to the script.

One of the exciting talents of the current Tamizh film music arena, Santhosh Narayanan has once again smashed it, with a brilliant album, which has fantastic outputs mastered by Steve Smart, who has contributed his talents to Madonna and Michael Jackson ! The theme music, "Sudden Delight" is literally a sudden delight which is played sporadically along the film's screenplay. "Mama Douser", a zany song sung by Andrea, was picturized on a bar fight, with fantastic lighting and props, with good camera movements, and also re-used again later for a thrilling chase sequence. "Coma Na Come" is a montage filled song, which showcased the 'kednaping' crew with their funny 'kednaping' ordeals. "Kaasu Panam" was fantastically picturized, with Karunakaran in a dream song, which resembled the old Durbar courtyard of ancient Indian kings. 'Gaana' Bala makes a groovy cameo in this song as well. "Sa Ga" is a short situational dream song, which resembled like a lullaby, shot on the lead pair, showcasing Sanchita in an angel-like role, comforting the brutally battered Vijay. "Ellam Kadanthu" is another situational song, showing Karunakaran's rise in politics, picturized in montages. This same song was also picturized separately for promotional purposes, with most of the cast singing the lines, in scenes of the films ! The background score was brilliantly composed, with unique tracks for each characters and they did not overwhelm the flow of the screenplay. 'Soodhu Kavvum' is a milestone in Santhosh's career !

What works for 'Soodhu Kavvum' are the crazy and quirky ideas layered throughout the film, and none of them were simply thrust into the film for the sake of it. A creative script and story (jointly developed by Nalan with Srinivas Kavenayam) is further strengthened by the strong and well-written roles of the main artists. Each of them uniquely varied from each other and has their own sense of comic timing. The congruence of all these characters led to a zany and wacky situations, and these episodes were very well conceptualized and executed by Nalan, who deserves a big round of applause, for achieving it. And what worked well for the film was the manner the concepts were executed, which was very light-hearted, yet quirky in nature. The experimentation did not go wrong for Nalan most of the time, but there was a light dip in pace in the second half, which stretched the duration of the film. Yet it can be forgiven, since the final output was master-class. Nalan also impresses with super dialogues, which were well timed and delivered perfectly by the acting cast. Wacky ideas, creative script, fun screenplay, near-perfect execution, an aptitude cast, a quality crew, what else can we ask from Nalan's debut noir-comic film ?

'Soodhu Kavvum' - scooped our attention, in a big way !

Ratings: 3.5/5 STARS



When the announcement came, it really intrigued the interest of viewers. That's because the legendary character of Nagaraja Chozhan perished, under the vengeful anger of his illegitimate son. So how does this 'Amaithipadai 2' will work out as a sequel ? Nonetheless  the combination of Manivannan and Sathyaraj, will still invoke the interest, especially of those who are fond of sarcasm, since these two are the best of the best of that category. So how did this film fare ?

Being his 200th film, Sathyaraj proved that experience matters and he is definitely a class above, when it comes to performing quintessential sadistic and sarcastic characters. His perfectly-timed dialogue delivery and casual expressions were top class. He oozes the brashness and arrogance demanded by the character. Its just a pure delight to watch him taking potshots at others ! And playing the perfect foil fro him, is his 'partner-in-crime', Manivannan. These two veterans share fantastic chemistry between them, and their respective uniqueness, complements each other's styles and variations. This particular combo has been sorely missed in Tamizh cinema ! The only sore point was the younger Sathyaraj role of an CBI officer, which lacks screen space and time. Raghu Manivannan plays a small but significant role in the film and passes muster. Directors Seeman and Jegannath were very stiff and stoic in their performances. The rest of the cast such as Mrudula, Komal Sharma, Varsha Ashwathi, Anshiba, M.S Bhaskar, Vaiyapuri, Krishnamoorthy, Rajkanth, Sujatha and etc were just functional but insipid.

The technical department's work were just adequate and there's nothing much to speak about. Bhuji's costumes and Durai's make-up for the titular role of Sathyaraj's was spot on. The veteran looked perfect as how he would have aged from the original 'Amaithipadai' days. 'Supreme' Sundar's stunt choreography was overdone with excessive usage of ropes and outdated choreography. B.Sai's art direction was adequate, though he could have done better with the tribal episode and also for the interiors of the posh bungalows of the lead characters. R.Sudharsan's editing was functional and so does D.Shankar's cinematography. There are a couple of some good shots of the forest, but other than that, there's nothing else to discuss about. James Vasanthan's musical score was drab a humdrum. "Malai Mele" is a song shot on the celebration of a tribal wedding ceremony, which eulogized the importance of the pristine jungle. "Kannadi Paapa" is a typical item song, with two gals prancing around with dancers, amidst a house party. "Viraivil Vidiyum" is a situational song, picturized on the affected tribal community mourning their losses and their uprising against the corrupted titular character. The background score was too bland and unimpressive.

As his 50th directorial venture, Manivannan has taken the classic Nagaraja Chozhan character from his cult-hit 'Amaidhipadai' and made an unrelated spin-off. The movie is filled with current social problems and takes a liberal dose of mockery about the sorry state of the Tamil Nadu political scenario and its politicians. The problem with the script is that, its only enjoyable when the hot-shot combo of Sathyaraj and Manivannan is there. Other than that, there are no engaging scenes, pertaining to the other characters. The success of the original was due to the sarcasm-filled writing and also a strong emotional quotient, attached to the script. But in this film, the latter is missing, and what we have are just mere 'bullet-points' like highlights of all the scams and wrongdoings of the current politicians, narrated in a repartee between the two lead roles of Sathyaraj and Manivannan. And also, we had the fantastic musical score of 'Isaignani' Ilaiyaraja in the original, which added more color to the film, but alas, its the other way around in this unrelated sequel.

'Nagaraja Chozhan' is definitely no where near the quality of its original, but fans of Manivannan-Sathyaraj combo might as well just enjoy the combination scenes, alone !

Ratings: 2.5/5 STARS



From a relatively new team, 'Yaaruda Mahesh' earned some brownie points with the youngster's for its naughty and cheeky trailer. Judging by the adverts, this film clearly indicates that it is strictly only for adults, as it contains plenty of adult jokes. A rarity in Tamizh cinema indeed, but it is worth fulfilling the vacant place of a proper and enjoyable adult film ?

The lead roles are done by relatively newcomers, Sundeep Kishan and Dimple Chopade. Sundeep, who did a role in 'Maranthen Mannithen', just passes muster with his role, of an irresponsible and good-for-nothing sort of hero. As for the heroine, Dimple was just adequate and is another addition to the various new-coming glam dolls of Tamizh cinema. The only person who actually catches your attention throughout the film is Jagan. He carries the film on his shoulders, and his humorous with his funny one-liners, dialogue delivery and body language. He definitely keeps us in splits with his near-perfect timing ! The film has a host of character artistes such as Livingston, Vijay, Srinath, Uma Padhmanabhan, Swaminathan, Singamuthu, Nellai Siva, Venkat Sundar and etc, who were functional.

The film's technical works were adequate as well and have worked well, within the shoe-string budget allocated to them. Sathya N.J's costume designing was spot on, making all the characters to look lively and colorful, which was a necessity for the script, as the characters were suppose to be loud. Vanaraj's art designing was simple but cool. His interiors for the posh bungalow house sets and also the simple bar and street sets were, well brought out. Sathya Narayanan's editing was smooth and crispy, but he should have chopped off many sequences which were inconsequential to the overall script and storyline. Raana's cinematography was adequate as and very much functional, but his work for some of the songs are noteworthy. 

Malayalam composer Gopi Sundar, takes care of the music score. His tracks were pretty lukewarm and uninteresting to listen to. "Odum Unakithu" was a loud, item song, featuring Sana Oberoi. The bright lighting and the clean bar set-up was cool on the eyes. "Pudhu Paarvai" was a duet, picturized on the lead pair, romancing in top hillside areas, and Raana's soft color tone, worked well for the song, as his framing and angles were just nice for the song. "Vayadhai Keduthu" is a sensuous situational song, where the lead pair gets into some steamy actions. Dimple Chopade shows no inhibitions in shedding her clothes and the lighting and camera movements, together with efficient editing, was very professionally done. The modern bedroom set work complemented the song's mood, as well. "Yemathitta" was a loud and boring song, shot on Sundeep and Jagan dancing in a bar set-up. Vanaraj's props for the street set, was spot on, with good detailing. "Yaaruda Mahesh" was shot on the lead pair and was done like a music video, with very smooth editing and lighting for the picturization, which had a warehouse like background. The background score was too loud, which should have been toned down.

Written and directed by debutante, R.Madhan Kumar, 'Yaaruda Mahesh' does not live up to the mild expectations it evoked through its trailer. The jokes and gags, which were sexually suggestive in nature, is there but the second half of the film is littered with unnecessary comedy sequences and songs as well ! The film does not get any direction, until late into the second half. Most of the jokes of the character artistes, fall flat except for Jagan's. Unfortunately, his one-liners alone will not be sufficient enough for the audiences to go through this ordeal. The film carries no logic progression in its screenplay and the climax was a big let-down. A well plotted screenplay, with strong story presentation could have done mini-wonders, to the film ! A sincerest advice to the director: Youths do lap up for adult contents but that alone will not fixate them to a film, for its entire duration (unless its a plain, simple porno) !

'Yaaruda Mahesh' -  Disappointing adult comedy film.

Ratings: 2/5 STARS



Director S.M Vasanth, known for his critically acclaimed hits such as 'Keladi Kanmani', 'Aasai', 'Nearukku Ner' and etc is back after a long 6 years absence, with 'Satham Podathey' being his last release. A unique compilation of artistes, S.M Vasanth tried to weave three different story-lines, based on three couples, from three different landscape backdrops. How did all three story-lines merge or complement each other, is what we are looking for. So, is it worth a shot ?

Veteran Arjun, looks very fresh and shines in the role of a swimming coach. His body language and composed dialogue deliveries, are indicators of his vast experience. One sincerely hopes, that Arjun continues to choose such films henceforth and stop continuing mindless action 'masala' scripts. Cheran breezed through his role but is not entirely convincing as a foreign-returned. Also, its Cheran who has the lesser number of screen time among the heroes. Vemal, struggles as a smooth-talking charmer and its clearly evident that he is finding it hard to shake off the rural/town guy image, for which he is known for. Muktha Bhanu had the best of the female roles, and kudos to her for stealing the show, with her nuanced performance. Debutante Lasini is not bad, but has a long way to go, as her expressions were still not so organic and natural. The other debutante, Surveen Chawla tries her best to fit into the role of Arjun's student cum lover, but she misses her mark. The rest of the cast such as Thambi Ramaiah, Appukutty, Sathyan, Naren, John Vijay, Ravi Raghavendar, Shanthi Williams, Bosskey, Sivakumar, Chandramohan, Rajan and etc were functional.

The technical department of the film, dished out just above average works, except for the soundtracks. Sathya N.J's costume designing was apt, as each characters looked their part, but Vemal's look could have been altered for the better. Magi's art direction was neat, as most of the scenes were canned in real locations and the props matched the backdrops, showcased in the respective story-lines. The editing was handled by S.N Fazil and S.M Vasanth together, and probably both minds did not gel well during the cutting process. The film looked very choppy, with loose hangings and non-cohesion in the transition from one scene to the other. Bhojan K.Dinesh's cinematography work was very good and he captures the mood of each the three distinctive backdrops of hillside, coastline and city landscapes, very well. But the framing and close-ups could have been better.

S.M Vasanth's films always had fantastic soundtracks, and 'Moondru Per Moondru Kaadhal' is no exception either. This film is probably one of Yuvan Shankar Raja's best works in recent times, and nearly all the songs were fantastically scored and well mastered. Brilliant work, Yuvan ! But sadly, the song picturization quality was not up to the standards of the soundtrack. "Kaadhal Endhan Kaadhal" is a haunting, yet peppy number which comes during the opening credit sequence, with the backdrop of the Kovai sea and also appears in a montage sequence during the Cheran-Bhanu episode. "Unakkaagave Uyir" is an experimental dub-step type song, and was picturized on the Vemal-Lasini pair, also in montages. Lasini was shot beautifully by Bhojan, with good framing sense. "Padapadakkudhu" also appears during the Vemal-Lasini episode, but was shot on Robert and Blaaze making cameo appearances as 'Sanjay Ramasamy' and 'Sivaji The Boss' wannabes. The song had simple set work of light bulbs and dim-lighting for the backdrop. "Aaha Kaadhal" is a montage song, shot on Bhanu falling for Cheran and was mostly shot along the coastal lines of Kovai. "Mazhai Mazhai" was shot on Arjun and Surveen, who was in scanty sarees. The song was lacks any imagination and was shot in and around Binny Mills. "Stop The Paattu" was shot on a food court premise of a business complex and had Ritvik Varun, the son of S.M Vasanth, making a cameo. Ritvik does dance well, but is too camera conscious and looks uncomfortable in performing in front of the camera. The background score is handled by Tubby-Parik and is average, though most of the soundtrack is inspired from the songs. Not up to the expertise of Yuvan, but it was still functional.

S.M Vasanth should be appreciated for coming up with decent and believable characters and dilemmas faced by the characters. But what leaves a lot to be desired, was a proper screenplay ! Shankar Raman and S.M Vasanth's joint screenplay-writing was very badly structured and there's no proper connectivity between each story-lines. The pace was very lackadaisical in nature and the film moves in a very tepid manner. Though the songs were good, they were ill-fitting for the screenplay and as said before, poorly picturized. The message is something laudable, but falls flat and the writing is lethargic. Dialogues were pretty archaic, if you take into the current standards and tastes of the younger lot, but there were some sparkles, here and there. But still, kudos to S.M Vasanth for not thrusting unnecessary double entendres and glamor into the screenplay.

'Moondru Per Moondru Kaadhal' - definitely not on par with S.M Vasanth's earlier films. And definitely not the cup of tea of the present youngsters !

Ratings: 2.25/5 STARS



One of the most eagerly spoken about films, is this Dhanush produced 'Ethir Neechal, starring the upcoming hot-shot Sivakarthikeyan and a host of youngsters. Sivakarthikeyan has been notching up the ratings, due to his immense reach, attained during his television days. And the extra USP of having Anirudh as the music director, who dished out chart-busters, once again. It looks like the season of Vetrimaaran's former assistants, coming up with their own directorial ventures, and R.S Durai Senthilkumar joins the fray as well, through 'Ethir Neechal'.

This protagonist role of 'Ethir Neechal' is a tailor-made role for Sivakarthikeyan, who excels in his comic timing. Not just in his dialogue deliveries, but also through facial expressions and body language, which are signs of very good improvement ! He's not bad in the emotional scenes as well, but it was still not good enough to rate his full capability in the acting quotient. Priya Anand breezed through her role as the beautiful girl-next-door teacher. Nandita of 'Attakathi' fame has a more stronger role, but a brief one though, yet she still makes a mark. Satish, as the sidekick of Sivakarthikeyan, was a scream with his in-your-face one-liners and is delight to watch in his combination scenes with Sivakarthikeyan. The next hit-pair ? Most probably ! Jayaprakash and Ravi Prakash, handled their roles very diligently. The rest of the cast such as Suza Kumar, Swaminathan, Manobala, Aarthi, Madan Bob and a cute cameo by 'Attakathi' Dinesh were adequate.

The film carries very neat and crisp technical works from the crew. Anu Parthasarathy's costume designing for Priya Anand was brilliant and Priya was looking gorgeous indeed ! 'Mirattal' Siva's action choreography was functional. G.Durairaj's art direction was very good, as he has maintained high production value, with an obviously low budget. There are plenty of locations in the film such as tailor shop, classrooms, training room, offices and the final marathon sequence, were all well neatly brought out, with the necessary props. G.Durairaj is turning into a  favorite among the medium budget producers ! Kishore T.E's editing was flawless, as he keeps the film crisp and the flow of the screenplay, in check. R.Velraj's cinematography is dripping in quality, with apt camera positioning and framing. His camera movement is slick, the cool ambiance was a fine touch and his lighting for the dimly-lit sequences, were brilliant as usual ! Also, R.Velraj camera angles in tight spaces, worked out well for the necessary scenes.

Anirudh Ravichander's music, as mentioned earlier, was brilliant and peppy. The sort of attention-grabbing genre for the youth. "Nijamellam" has Sivakarthikeyan trying to woo Suza Kumar and has cool picturization from R.Velraj. The narrow alleys, wide beach section, crowded bus interiors, were all shot in montages. "Boomi Ennai" was pictured on Sivakarthikeyan falling for Priya Anand and is a another typical dance number with plenty of locations and crisp editing. "Velicha Poove" was the best shot song, in the postcard-worthy locations of Andaman and Nicobar. The camera movement and angles were very good and accentuated the lovely mood of the song, shot on Sivakarthikeyan and the Priya Anand, who was looking gorgeous to the tilt ! "Local Boys" was a super-fast number shot on a bar atmosphere, with plenty of props. The highlight of the song though was the cameo appearances by Dhanush, the classy Nayanthara and also by Anirudh himself ! The title track of "Ethir Neechal" was shot on Sivakarthikeyan and Nandita and has montages of the protagonist going through intensive training for the penultimate marathon episode. "Un Paarvaiyil" was a situational song shot on Sivakarthikeyan setting his sights on Priya Anand for the first time. Anirudh rocks in the background score department as well, with good touches of rock and melody elements. Being an ardent A.R Rahman fan, the background score does have some moments, which were obvious inspirations from A.R Rahman !

R.S Durai Senthilkumar's script, was very simple and straight-forwardly written. There director plays no hanky-panky in the screenplay. The love scenes were cute and amusing, the comedy portions were humorous, thanks to the witty one-liners and the emotional sequences were just nice and was not overtly melodramatic. The debutante director, has extracted exactly what was needed from his cast and his vision of his script, is full of clarity. A subtle message is woven into the screenplay, without being too preachy and obvious. The only downside of the film is that, it might not satisfy all section of audience, as its low in content. The film is not particularly racy, though its commendable that they have kept the length of the film, short. The transition from comedy to seriousness, from the first to second half, was rather formulaic, but the director can be excused, as he has come up with a neat entertainer.

'Ethir Neechal' - delivered nothing more and nothing less than promised. A clean entertainer !

Ratings: 2.75/5 STARS



After 'Udhayam NH4', the main technicians of that team has regrouped again for another of Vetrimaaran's assistant, Prithvi Rajkumar's debut film. 'Naan Rajavaaga Pogiren' has Nakul making a comeback after a 4-year hiatus, accompanied by some new and old faces of Tamizh cinema, filling up the character artistes quotient. Aided by Vetrimaaran, did Prithvi Rajkumar live up to his mentor's name ?

Starting off with the cast, Nakul shows some improvement in his performance. He shows more ease and comfort in the action sequences and his dialogue delivery. But as Jeeva, his diminutive-in-heroism act was on the poorer side of the acting scale. The acting was not convincing and natural, and the 'forced' attempt to act was visible. Poor extraction from the director, perhaps ? Chandini, has the more substantial role of the heroines. She has been accorded more screen space and the heavier performance-enhancing scenes. Avani Modi, is too static and conscious of the presence of the camera. Savitha dubs for the former, while Chinmayee takes care of the latter's. But Avani Modi's performance suffers, due to the mismatch in dubbing sync. Directors Gaurav and A.Venkatesh carry the antagonist roles, and they look apt for the characters they portrayed, though there's nothing particular to praise about. The film has a glut of character artistes such as Nishanth, Manivannan, Kasthuri, Suresh, Vanitha Vijayakumar, Chetan, Muthuraman, Simhaa, Vasu Vikram, 'Delhi' Ganesh, Thiyagu, Mayilsamy, Aarthi and etc and all of them were functional.

Dhilip Subbarayan has choreographed solid action sequences, with the element of kick-boxing, fitting the style of Nakul's. The cricket ground and mall fight sequences, were very professionally done. G.Durairaj's art direction was decent. His art work for the posh apartment sequences, the half-built construction sites, and minute details such as posters and props, were decent works, indeed. Mabbu Jyothiprakash's editing work is functional, but he could have chopped of plenty of scenes, so that the film could have been more racier, with better continuity. R.Velraj proves his class again, with very good framing and camera movements, which creates and aura of suspense and thrill. His night shots are very well shot, and his best works of the film is evident in the mentioned action sequences !

G.V Prakash Kumar, who has been on a role, with a string of decent hits, takes a dip in form in , 'Naan Rajavaaga Pogiren'. The songs were dull and none of the number's were catchy enough ! "College Paadam" is a customary college-intro song, with plenty of good looking female dancers and shot mostly in and around the college campus. Plenty of cut-shots and good camera movements are incorporated into the song. Vetrimaaran, R.Velraj and G.V Prakash make cameo appearances in the song. "Raja Raja" is a montage song, showing the moments shared by the characters played by Nakul and Avani Modi, with dialogue sequences interspersed. "Kalaaipom" is a party song sung by Silambarasan, with all dancers appearing in particular dress codes. The song was shot on all three lead artistes and with different lights used in the backdrop to create a party atmosphere. "Yaar Ivano" was shot on Nakul and Chandini, romancing along the picturesque Goan beaches and landmarks. "Malgova" is a typical item song and Zarine Khan does the jig this time around. The song was poor in quality and the choice of totally-out-of-shape Zarine as an item girl, is a bewildering one by the director. The song was set in a shooting-like scenario. The background score was better than the songs, to be frank. Especially for the tensed moments.

Prithvi Rajkumar has an interesting knot to his story and a clever title. But what's totally missing is an acute and engrossing screenplay ! It is obvious that, Prithvi's style of film-making has a heavy sense of Vetrimaaran's touch, but the screenplay and direction was poorer in quality. The film moves in a very slow pace with a barrage of social messages, thrust into the film, unnecessarily. The usage of monologues was excessive, which gets boring after a certain period. The direction was hurried and there's no proper execution in canning important sequences. Characters were very not properly developed nor the artistes were properly utilized. Surprisingly, Vetrimaaran's dialogues were just handy enough and nothing impressive, in particular.The only plus point one could think of is the cleverly used red herring element in the screenplay, and the rest of the film is just a cover-up for it, which unfortunately plays spoilsport.

'Naan Rajavaaga Pogiren' - Good idea, below average execution.

Ratings: 2.25/5 STARS