Here we go ! Another week and another comedy film being released in Tamizh cinema. Creativity seems to be lacking, where producers are only thinking of pouncing on quick-bucks by producing comedy capers. But hey, a comedy film is still a film and it has to be good, in order to be successful. Shiva and Santhanam, are 'deadly' combination comes together after a brief flirt in 'Thillu Mullu'. Directed by I.Rajasekaran, a former associate of M.Rajesh, each comedian has a heroine each, but how did the movie live up to, in the end ?

Performance wise, Shiva and Santhanam were very pretty much in their comfort zone. Too much of comfort, frankly speaking ! Shiva with his poker-face reactions and Santhanam with his one-liners, are complementary to each other with their distinctively different styles and timing. But their gags together were not of rip-roaring quality, but just plain-silly gags. As for the heroines, Dhanshikaa, has the meatier role and, for an actress of her potential and substance, this was just a pathetic show. Though she could have wanted to do a simpler, attractive-looking, easy-going role, such roles doesn't not offer her much, other than a pay-packet. Sandhya makes her return after quite some time, and she was okay with her comic timing and in a limited portion of sequences. 'Powerstar' Dr.S.Srinivasan makes a cameo and does plenty of spoof gags, though he is improving with his dialogue delivery and comic timing. Devadarshini's role was just insipid and ridiculous. The rest such as Ilavarasu, Rekha, Manohar, Aarthi, Chitra Letchumanan and etc were just there to fill up the spaces.

Shanmugapriya.S's costume designing sufficed the need of the script, especially with the lead pairs looking good. 'Thalapathy' Dinesh's stunt choreography was over-the-top, though the script warranted it. T.S Suresh's editing has nothing to shout about, apart from the fact that it was just neat and the length of the film was short. K.Kathir's production design was okay, trying his best to make the surroundings to look convincing enough. Especially with the props. Vetri's cinematography was average but pleasant in a few shots.

Vijay Ebenezer's songs were below average and none of them were interesting to listen to. "Friendae" was shot on both Shiva and Santhanam, with a swanky shopping complex as a backdrop. "Needhane Endru" is a dream song on Shiva and Dhanshikaa, which had montages and was shot in common places such as beach, malls and theme parks. "Boomi Nalla" was also picturized on Shiva and Dhanshikaa, in a colorful, rural setting done by K.Kathir. While Dhanshikaa showed the glamorous side of her's, Shiva dabbled in real dancing ! "Oru Kannadi" was picturized on a bar setup, erected by K.Kathir. The song was shot on Shiva boozing around and also had Dinesh, the choreographer, throughout the song. "Yaaru Kitta" was like a face-off song, between Shiva and Santhanam and was shot in a wedding atmosphere-like, decorated home. "Nothing Wantu" appears during the end credits. 

I.Rajasekaran is clearly motivated by his mentor's style of writing scripts, that is without a proper story but full of funny gags. There's nothing wrong in aping the same methodology, but the execution goes horribly wrong in 'Ya Yaa'. I.Rajasekaran tried to fuse both slapstick comedy and serious story-telling into one screenplay and both elements did not stick well. The film slowly wanders no where, and the screenplay goes completely haywire with farcical and unwanted sequences dished out for no apparent reasons. Some of the gags are filled with double entendres, which could have been avoided. Also, there is a lackaidisical attitude with the final product, with badly done post-production. Many sequences had the dubbing and lip-sync going completely non-sync !

'Ya Yaa' - A half-baked attempt in making quick-bucks, by harping on to the recent trend of comedy films being release.

Ratings: 1.75/5 STARS



Among the onslaught of comedy movies being released week in, week out in Tamizh cinema, 'Moodar Koodam' stands apart for its dark humor/black comedy genre and also incorporating styles, one would associate with the pulp fiction genre. Produced by the maker himself, Naveen, a former protege of Pandiraj and Chimbudevan, the film was released under the banner of Pasanga Productions, which belongs to the former. The promos were promising and promised a quirky but fun element throughout the film. Did 'Moodar Koodam' avoid making us end up as a fool for watching it ?

The main leads are new and Naveen, the producer and director, leads the way for the "Gang of Idiots". He maintains a stoic and brooding persona throughout the film and his dialogue deliveries were sharp and well delivered. His timing was perfect, especially for his counter-dialogues with Sentrayan. As for the latter, he was the second best performer among the lot. His facial reactions and bodily language complemented the actual caricature-like image of his character. The elements helped him to literally, "stand out" among his peers. (No pun intended !) As for Rajaj and Kuberan, the performances were decent and neat enough, but there were lots of room for improvement, in terms of screen presence and timing for dialogue deliveries. The rest of the cast were pretty much in their comfort zone and dished out good performances. Jayaprakash and Anupama Kumar were spotless, though Oviya had a lesser screen timing and impact on the script. Manasa and Rinthiya were a scream with their antics ! Sindhu Reddy, Sabesh, Wingco Prakash, Bobby Tejai, Sathish Swaminathan, Pollachi Manoj, Udhayabanu Maheswaran, Manmohit and etc contributed aptly for the necessity of the script. 

Production designer Prem Navas had little work throughout the film, as the locations were very restricted, and centered only on a house for 70% duration of the film. The props were neatly done, though. Athiyappan Siva's editing was creative, especially with the way he handled all those mini-episodes, each different from the other, with some zany ideas. The length of the film could have trimmed though, since the pacing of the film tests the patience of viewers, after a certain point of time. Tony Chan's cinematography was dark and brooding as well, complementing the mood and theme of the script. Though not impressive collectively, some episodes were definitely shot well, especially with Sentrayan's.

Natarajan Sankaran's musical score was exciting and unique, as he experimented with various types of genres and styles for each characters and episodes. "Velai Vetti" was the opening song, played during the credits, which present the cast and crew akin to a Guy Ritchie's graphic novel, style. "Idhu Nalla Naai" was well edited and shot, and was a fun mini-episode featuring the flashback of the Great Dane, credited in the film. "Oru Oorule" is the flashback of Kuberan and was done in an animation format by Hybrid Studios and Icon Studios. "ABCD Ungappan" meanwhile, was the flashback of Sentrayan and had plenty of montages interspersing with self-shots. "Auto Kumaru" is a bit-song played as a background score for "Auto" Kumar's character introduction. "Achamillai Achamillai" was shot indoors and is played in the background during a mini-boxing episode of the film. "Kannodu" is Rajaj's flashback which was shot in montages and had him and Sindhu Reddy depicted as lovers. "Nila Nila" was a slow-motion bit song, which happens to be Naveen's flashback. The pick of the lot, "Neeyum Bommai" sang by the legendary singer K.J Yesudas for the second time, was the flashback of an all-important doll of the film ! The background score too was interesting and well-scored. Good work, Natarajan !

What sets 'Moodar Koodam' apart from the glut of recent comedy film release, are its intelligent dialogues and a very stylish presentation and sequencing from Naveen. The director in Naveen had loads of ideas and he has tried to implement as much as he can and want in this script, and its pretty obvious that he has been inspired by Guy Ritchie and Quentin Tarantino's style of film-making. Though the ideas give different variations and colors to the script, the line-up of ideas prolongs the length of the film further. Moreover, a good deal of the length covers the episodes played between the host of characters, locked up in a single house, slowly creeps in boredom. The barrage of wacky characters, though amusing was unnecessary and Naveen loses the grip he had on his script. Though the film has dark humor as its theme, the adult content in the gags are bound to be expected by the viewers. The makers could have taken the bold step of not sacrificing these adult contents just for the sake of a "U" certificate. (Or it could be the fault of the Censor Board members, whose narrow-mindedness is legendary). The biggest turn-off for Tamizh film buffs could be the hidden revelation behind the writing of the script. Naveen has ripped off a successful 1999 Korean crime-comedy, 'Attack the Gas Station' and it could have been encouraging to see Naveen at least giving credits to the original makers. But still, Naveen has adapted the script very well with the necessary changes.

Nevertheless, 'Moodar Koodam' is a good attempt in producing different films in Tamizh cinema. Looking more from Naveen, and looking for an original attempt from him !

Ratings: 2.75/5 STARS



The current flavor and poster-boy of Tamizh cinema, and the apple-of-the-eye of the family audiences, Sivakarthikeyan is on a hot-streak after back to back successes. This time he is in his comfort zone of comedy, with a rural backdrop and an equally comical Soori as his aide. Directed by Ponram, a former under-study of youth-centric humor genre master M.Rajesh, 'Varuthapadatha Vaalibar Sangam' has been making noise with the right kind of noises, thanks to D.Imman's chartbusting songs, pre-release. Will this be a clean hat-trick for Sivakarthikeyan in 2013 ?

Sivakarthikeyan delivers what best comes to him with finesse and the rural character suits him to a T. His timing is terrific and his dialogue delivery is near flawless. His expressive facial expressions and body language is a major asset to his role, as well. Bringing the best out of him is Soori, who plays the perfect foil for Sivakarthikeyan. With funny counter-dialogues and measured counter-reactions, Soori and Sivakarthikeyan are complementary to each others' characters. The film is basically built upon their gags and antics, and they have understood the demands, perfectly. Job well done, boys ! Sri Divya makes her debut in Tamizh cinema, and this sweet-looking, docile-natured element, fits her image very well. Not to forget, this girl has the right capabilities to actually do decent acting. Has very good potential to deliver better performances in the future, subject to proper scripts. Sathyaraj is a marvel in his role as the heroine's father, especially with the majestic mustache of his. The veteran's look and make-up was well designed, giving more believability to his role. Performance wise, the man just simply rocks with his impeccable comic timing and dialogue deliveries. Bindhu Madhavi plays a short but cute role and the rest of the cast such as Rajendran, 'Kathal' Thandapani, Raja, Gopal, Sri Ranjani, Vinodhini, Swaminathan, Kumaravael, and etc were very apt for their roles.

The film has some good technical outputs, thanks to its young crew. Vasugi Bhaskar's costume designing was on the dot, especially for the lead pair, which looked very natural. She should be commended for her part in Sathyaraj's costumes as well. 'Super' Subbarayan handles some simple action sequences, especially the midnight fighting sequence, shot in a plantation. G.Durairaj's, production design was neat, especially with the props for the village sequences, covering various different backdrops such as wedding, festivals and etc. The design blended well with the actual, natural surroundings of the rural setting. Vivek Harshan's editing was neat and he delivered what was expected from him, though more trimming could have made the film look sleek. Balasubramaniem's cinematography is an asset to the film, as his work blends well with the rural setting. The colorful, yet earthy tone the film carries throughout is a pleasant sight for the eyes. His lighting for the songs, especially gives the frames a rich yet earthy tone.

D.Imman is on fire and he delivers another winning album with 'Varuthapadatha Vaalibar Sangam'. The title track, "Varuthapdatha Vaalibar Sangam" which introduced the 'singer' Sivakarthikeyan to us, was shot with good framing and had good village settings as backdrops. "Yennada Yennada" is a cute montage song, shot on Sivakarthikeyan, Sri Divya and Bindhu Madhavi, with a love triangle on the anvil. The best song of the album, "Oodha Color Ribbon" is a foot-tapping song shot on Sivakarthikeyan and Sri Divya, with some song-purpose, conceptualized montages and also in village festival setting. "Kannaale" which is absent from the audio list, is a pleasant bit-song, played during a wedding scene. "Paarkaathe" is a montage song shot on Sivakarthikeyan and Sri Divya, who have finally professed love to each other. "Indha Ponnungale", another chart-buster, was shot on Sivakarthikeyan and Soori and serves as the typical drunkard song, shot in minimal but good lighting by Balasubramaniem. D.Imman also scores well in the background score department, with thumping scores and pleasant tunes. Way to go, D.Imman !

Debutante Ponram, follows his guru's safe template of a humor structure for a whole script, and infuse it with good dialogues. The dialogues, have been taken care of by M.Rajesh himself, and as usual he does not fail to deliver, though they were not the best of punches from him. The storyline is a wafer-thin one, and only the entertainment quotient, keeps the audiences engaged with the film. The screenplay wobbles a little in the end, after an unexpected, but pleasant twist in the climax. Kudos to Ponram for making use of Sivakarthikeyan's image and talents properly, to suit the mood and feel of the script. The gags arrive one-after-the-other and only in the late second half, the mood goes sombre for few moments. There is no any pretext of a great film with this and that. The makers promised a decent, laugh-riot and that is what has been delivered.

'Varuthapadatha Vaalibar Sangam' - Clean hat-rick of success for Sivakarthikeyan, indeed !

Ratings: 2.75/5 STARS



Director Ram, renowned for his dark and critically-acclaimed 'Katradu Tamizh', is back after a hiatus with 'Thanga Meenkal'. To be initially produced and acted by Karunas, the film has undergone transformation in casting and production, with Ram himself making his splash as a lead actor and Gautham Vasudev Menon co-producing it with J.Sathish Kumar. Ram's intense and thoughtful writing, is a pleasure for those who crave intellectual script-writing. Will this be a proper follow up to the outstanding, 'Katradu Tamizh' ?

Ram, as a lead actor is undoubtedly fabulous in his role as an affectionate, but with a different sets of strong but radically different views and philosophies, against his conventional folks. He has breathed life into the role of Kalyani and being the writer himself, there can be only a select few in the industry who can pull it off, other than the director himself. The character does look over-emotional and hyper-sensitive, but the traits are the actual elements, which adds myriad of shades to the emotional content of the film. Sadhana, makes a very strong debut as a child artiste in this film. It takes a lot of conviction and maturity beyond her tender age to pull of the character, envisioned by the director, with utmost ease. And Sadhana did just that, with a magnificent portrayal of Chellamma. Hats off to this child prodigy ! Nabhukumar Shelly, who plays the mother of Sadhana, is another splendid performer, whose nonchalant and nuanced performance, marks her firm presence in some sequences. 'Poo' Ram and Rohini were befitting of Ram's old-school parents, and they were natural and realistic in their respective portrayals. Another child artiste, Sanjana makes her debut as well, and she's an absolute sweetheart, in her own rights ! The rest of the cast such as Umapathy, Lizzy Variyar, Ramya and others were very apt for their roles. Padmapriya makes a very noble and lovely guest appearance. Kudos to Ram for a great casting !

Ram has the privilege of having the best of technicians as important film crew members for 'Thanga Meenkal'. Rajashekar has choreographed very natural and realistic action sequences, wherever it warranted. Production design was handled by Rajeevan and since most of the film were shot on actual locations, Rajeevan has appropriately put in necessary props for the settings, especially with the classroom setting and also with the protagonist's home. Veteran master editor, Sreekar Prasad's editing is flawless and though the film is a little stretched, the flow was not disrupted at all, and the slow-moving screenplay was a necessity for this script. Arbhindu Saaraa's cinematography was beautiful, especially with the scenic, hillside and lush mountainous landscape, wonderfully captured with his lenses. Also, the rustic beauty of Nagercoil was well captured as well. Ram has extracted the best of works from a newbie, pretty much !

Yuvan Shankar Raja, reserves some of his career-best works for Ram, and 'Thanga Meenkal' is not an exception. "Aanandha Yaazhai" is a beautiful melody, shot on Ram and Sadhana having their little escapades, in the spectacularly, breathtaking Achankoil hilltop region. Its an absolute treat for the eyes and the coloring for the graphic portion was well handled. "Nathivellam" has plenty of montages shot in and around Cochin as well as Nagercoil, with very well-shot frames. "First Last" was shot on Sadhana, in an exam-oriented backdrop, with the school, serving as the location. "Yaarukkum Thozhan" is the final song, which also has few montages and some of it were shot in the deep regions of Wayanad, with its misty and surreal greens pastures, serving as perfect backdrop. The background score was superbly handled by Yuvan and 'Isaignani' Ilaiyaraja would have been proud by his offspring's achievement. Hats off, Yuvan !

Though the entire focus has been projected on the deep and loving relationship shared between father and daughter, Ram has actually brilliantly veiled the issue of the dark-side of private-funded schools, which runs on donations done by parents. Ram has wonderfully weaved in the agony gone through by poor-performing kids in such high-demand private schools, who vouch on their false-promises, of providing excellent education. The theme is something very topical and contemporary in nature, in respect to the current living conditions of middle and upper-middle class sections of the Tamil Nadu populace. As for the crux of the film, Ram has etched out many beautiful and poignant scenes for the father-daughter relationship episodes, and has also not forgotten about the other obvious characters present in the family, with equally well-written sequences. The story has been given credits to Ram and Shri Sankara Gomathy Ram. For those who were expecting another hard-hitting, high intensity, 'Katradu Tamizh'-type of film from Ram, 'Thanga Meenkal' might be a slight disappointment, but nonetheless, Ram proves yet again that he's a fabulous and well-read and well-thought writer. A big round of applause for the producers, for showing real passion by producing such a gem of a film.

'Thanga Meenkal' - A passionately done, sweet film with the highest order of acting and writing.

Ratings: 3.75/5 STARS



S.Ezhil, who made a mini comeback of sorts with the decent comedy-drama 'Manam Kothi Paravai', is back with another film which has abundance of comedy portions written throughout the script and aided by nearly the same band of artistes, who were present in his last endeavor. Will S.Ezhil strike it back-to-back ?

Vemal, takes up the male lead role and there's nothing contemporary with his portrayal. He has played the village lad role, relentless of times and he repeats it here as well. There are rooms for improvement as always, and he can at least strive to do something different with his dialogue delivery, with these conventional roles. Bindhu Madhavi looks ravishing in her pretty half-sarees, but is a little out-of-place, if you one is to consider her role's as a village belle. She has potential to be deliver better performances, and hopefully, may better scripts knock her doors. Soori has started to come out on his own and has established himself as a lead comedian. His dialogue rendition reminds us of Vadivelu's, especially with the English words. Nevertheless, he still manages to raise some chuckles, albeit in a non-sterling manner. Singampuli is a riot, with his lively antics and spotless dialogue delivery and well accompanied by Chams, as well. The rest of the cast such as Vinu Chakravarthy, Gnanavel, Ravi Maria, Naren, Singamuthu, Vanitha and etc were befitting of the needs of the script.

 Vasugi Bhaskar has done a good job, especially with Bindhu's costumes and her sarees and also for Vemal, who looked much presentable. Dhilip Subbarayan's action choreography is just functional, as per demands of the "masala" elements of the script and is well suited for Vemal's image. Sivaraj's production design was neat, especially with the props used for showcasing the interiors of rural homes, as well as for village festival sets. Gopikrishna's editing sufficed the basic needs of the film. Nothing spectacular about it. Sooraj Nallusami's cinematography complements the wants and needs of the director and he has pretty much, achieved the objective of bringing out the essence of a typical Tamizh cinema rural, commercial film.

D.Imman's score uplifts the mood of the film, with above average scores. The pick of the lot is the opening number, "Oru Ore Ore". Picturized on the lead pair on a temple festival backdrop, the song has good props and set work done by Sivaraj. "Ammadi Ammadi" is a sensuous number shot on the lead pair, in various sets of a small, fruit warehouse. Bindhu looked good in the song and the lighting complemented the feel and mood of the song. Sivaraj, once again does a neat and simple job, with the correct placement of fruits and other props, in the song picturization. "Nilavattam" is another village-festival song, but has been shot in a night sequence. The song has been shot with bright lights and feature a more lively ambiance. Muktha Bhanu makes a guest appearance for this song, and the damsel looks much better in a trimmer physique. "Pom Pom" appears in the end credits, with song picturization done on top of a moving bus. The lead pair was featured along with dancers and the visuals were interspersed with some blooper moments of the film. The background score was done well, but does not stand out as outstanding. Nonetheless, a decent output from D.Imman !

After the decent success of 'Manam Kothi Paravai', S.Ezhil has take a short-cut of sorts in making quick bucks, by aping the same format and template he has used for that film, in 'Desingu Raja' as well. There is no originality in the storyline nor are there any serious attempt in making a decent emotional plot-line for the film. Only S.Ezhil should answer if this film is meant to be an out-and-out comedy entertainer or an average drama, laced with comedy. Though S.Ezhil has projected it as the latter, the former proposition looks likely to be the actual case. In 'Manam Kothi Paravai', there was a serious element or undertone in the film, which formed the actual crux of the storyline and it was wrapped with good comedy portions. But in 'Desingu Raja', there seems to be no inclinations at all, to even attempt a properly structured, emotional content. S.Ezhil gave sole priority to comedy sequences and has laced the whole film, with plenty of them ! The climax is what you call the archetypal, lazy & farcical writing, notoriously prevalent in Tamizh cinema. N.Rajasekar's dialogues, is a big advantage for the comical portions of the film. S.Ezhil can be at least appreciated for keeping the duration of the film, bearable.

'Desingu Raja' - Slapstick comedy, at its average.

Ratings: 2.5/5 STARS



Suseenthiran, who made a promising start with 'Vennila Kabbadi Kuzhu' and followed up with successful films such as 'Naan Mahaan Alla' and 'Azhagarsamiyin Kudhirai', took a beating with his last project, the dreadful 'Rajapattai'. After a two year hiatus, he is back in his forte and has churned out a juvenile love story, with a relatively unknown and young cast and backed by a good script. Will 'Aadhalaal Kadhal Seiveer', be a springboard again for Suseenthiran ?

Santhosh Ramesh makes his debut as a lead actor, and he fits the role of an immature and hasty teenager. He has plenty of scope to improve on every facets of film acting. Timing is a very important aspect which he should improve a lot, if he wishes to pursue acting. Manisha Yadav Suresh performs well as the vulnerable and joyful youngster. Her role seems to be like an extension of her debut role she carried out in 'Vazhakku En 18/9. Better directors and stronger scripts and character writing could bring out better performances from her. The two character artistes, Jayaprakash and Thulasi as the parents of the heroine, were absolutely terrific in their performances as the distraught parents. These artistes brings out the best in them and made use of the scope offered by Suseenthiran, fantastically. It is almost unbelievable to believe that they are actually just artistes and are acting ! Hats-off to both of them. Poornima Bhagyaraj had a strong role as well but had quite limited time and screen presence in this film. Arjun brings a few chuckle as the 'Godfather' of love among the bunch of friends. The rest of the cast such as Ramnath Shetty, Archana Raha, Srinidhi Vasudevan, Anburaj and etc are apt.

D.Venkatesh's costume designing and H.K Suriya Prakash's make-up was very functional and apt, and all the characters looked very natural and realistic. Anal Arasu's action choreography was very realistic as well, since there were no actual fights and stunt sequences. S.Jayachandran's art direction expertise, sufficed the needs of the script. The props of the interiors of homes, were well noticed and arranged, since most of the film are shot in real locations. Anthony's editing was flawless and sharp, as the duration of the film is very crisp, keeping the proceedings neat and tidy. Soorya A.R's cinematography is functional and has captured the pertinent moments very well, with good usage of close-ups.

Yuvan Shankar Raja delivered good numbers in the film. "Mella Sirithal" is the opening track and was shot like a music video, on Marina beach, focusing on the bunch of youngsters involved in the script, with interspersing montages of various couples falling in love. "Alaipaayum" is another montage song, shot on the lead pair and their love escapades, in their daily lives. "Thappu Thanda" is a sensuous song, shot on the lead pair, in a set resembling a hotel room, which was very well designed by S.Jayachandran, with apt color palette, suiting the song. "Nenje Kel" and "Kaadhale" are situational bit-songs, used appropriately, while the final number, "Aaraaro" is a heart-wrenching one, which was shot on a small child in a foster home. The delicate and moments of the child was very well captured by the technical crew of the film. Yuvan sizzles in the background score department as well, and has delivered one of his best works in recent times. The score complements the needs and moods of the script, perfectly.

Suseenthiran has written this story based on an idea, pitched by Lenin Bharathi, who has been credited in the film. The screenplay has been well structured by a team of writers, including Suseenthiran himself, besides Nagarajan and Vijaya Ananth. The first half is a smooth and light-hearted delight, with funny and lively moments, among the bunch of friends portrayed in the film, as well as the blossoming love episode of the lead pair. There are a myriad of characters involved and kudos to Suseenthiran for having a keen eye of detail, and presenting them in an realistic and unforced manner. Also, Suseenthiran must be appreciated alongside C.Clyton for the simple, natural and realistic dialogues, be it for any episode in the film and any characters involved. It takes a lot of hard-work and proper research and some good maturity to handle such delicate but actual matters. What particularly strikes the most, is the nonchalant manner in which the love is portrayed between the lead pair without any gimmicks nor purposely written scene to enforce the love. It takes guts and lots of conviction to deliver such simple episodes, perfectly on the screen and Suseenthiran has done it like an ace ! The only minus one can come up, is the less sizzling and powerful emotional connect between the lead pair. Though juveniles are expected to be like that, a more powerful portrayal could have done more justice to the script. But still, kudos to Suseenthiran for the climax, which leaves a lump in the hearts of all viewers.

'Aadhalaal Kadhal Seiveer' - A brilliant comeback from Suseenthiran ! Concisely and conscientiously, done.

Ratings: 3.25/5 STARS