KATHTHI MOVIE REVIEW

Two years after the huge blockbuster success of 'Thuppakki', 'Ilayathalapathy' Vijay is back once again with A.R Murugadoss in another 'deadly' titled film. 'Kaththi' has been making all the right and wrong noises, thanks to the hype around the subject, Anirudh's "Selfie Pulla" and also for the alleged involvement of the Sri Lankan government with the producing company, Lyca Productions (and co-produced by Ayngaran International). After a tense and critical stage of protests and political interventions, 'Kaththi' hits the theaters for the festive season. Can this duo strike another bull's-eye ?

'Ilayathalapathy' Vijay's dabbling with double role subjects have not gone down well previously, but with 'Kaththi', he is fantastic as both Kathiresan alias Kaththi and Jeevanandam. The former holds the most amount of screen timing and 'Ilayathalapathy' Vijay plays to the gallery with his swashbuckling body language and a charismatic screen presence. This character does all the action, comedy, dance and its an out-and-out "mass" 'Ilayathalapathy' Vijay show for his die-hard fans ! Whereas, as Jeevanandam 'Ilayathalapathy' Vijay brings out the serious performer in him, in a character which is docile, meek, naive yet resilient and apathetic. Its a throwback to his 'Kannukul Nilavu', 'Thulladha Manamum Thullum' & 'Nilaave Vaa' days. Its refreshing to see him in this sort of a role devoid all his regular antics and hope he does more in the future ! Samantha Ruth Prabhu is there only as an eye-candy and she did what can be expected out of her poorly written role, by being cute and pretty and show those emoticon-style expressions. Popular Bollywood artiste, Neil Nitin Mukesh dons the main antagonist and though his demeanor and look was suave and stylish, the character lacks intensity and never really rile us up, as how a terrifying villain should. But kudos to Neil Nitin Mukesh for dubbing in his own voice and getting the lip-sync almost perfect, in an language totally alien to him ! Sathish plays 'Ilayathalapathy' Vijay's side-kick and provides one or two laughs. Tota Roy Chowdhury, R.Ravi, Rupesh Gupta, writer Veera Santhanam, Sreerag Nambiar, Seetha and others fill up the rest of the cast, with A.R Murugadoss himself appearing in an cameo appearance.

'Kaththi' has a lavish budget and technically the film looks rich and vibrant with various shades of color tones and landscapes. Costume designing by Deepali Noor and S.Rajendran was very apt, and the lead pair looked lovely in the film and songs, with 'Ilayathalapathy' Vijay being very casual and Samantha Ruth Prabhu, in some gorgeous outfits. Veteran Sreekar Prasad takes care of the editing department, and his work complements the narrative style adopted by A.R Murugadoss. The action sequences were brilliantly presented and brings out the pumping feel needed for those sequences to stand out. Editing was 'Kaththi' indeed ! The film's lavish budget was well spent on the art department and art director 'Lalgudi' N.Ilayaraja has done a fabulous job. The film has plenty of set works, such as a jail set, godown set, old folks home, an entire dried up village set, and plenty of set properties for real locations such as the Chennai airport sequence, and all of them looked very realistic and fitting for the script. A very neatly designed and executed film ! Action choreographer 'Anl' Arasu's work was brilliant in this film, and it could be one of his best works, till date. 'Ilayathalapathy' Vijay's body language and mannerisms fitted the choreography perfectly and his screen presence upped the ante. The action scene involving the coins, was very unique, cheeky, creative yet powerful and explosive. Don't miss it ! The film attained a great look thanks to George C.William's eye-catching cinematography work. He seems to share a great chemistry and wavelength with A.R Murugadoss and its pretty obvious for us to see, The camera movements, angles and lighting techniques were top-notch works and some of the calculated works, paid off big time when it added more zing and vibrant energy to the scenes.

Teenage sensation Anirudh Ravichander is on fire and his songs were very catchy and peppy, alas the positioning of the songs in the film, was just awful ! "Pakkam Vanthu" was shot on 'Ilayathalapathy' Vijay in the swanky new portions of Chennai International Airport and also at its runway. The additional set properties by 'Lalgudi' N.Ilayaraja added more authentic look for the song, which also had plenty of group dancers, adorning airport/flight themed costumes. "Aathi" has fantastic VFX visuals from Prasad EFX and the various color tones used, added more glossy factor to the song. 'Ilayathalapathy' Vijay and Samantha Ruth Prabhu's costumes matched the song's setting, so does the simple props by 'Lalgudi' N.Ilayaraja and some light-hearted montages were interspersed with the original visuals. The chart-buster, "Selfie Pulla" was shot on the lead pair, in a simple set work, replicating a western city square. The usage of psychedelic colors such as blue, pink and purple shades for the lighting and tone, gives a radiant but stylish look for the song ala Bollywood style. 'Ilayathalapathy' Vijay dances like a dream and Samantha Ruth Prabhu, tries her best to match him, alongside the group dancers. "Nee Yaar" sung by the legendary K.J Yesudass, is used as a situational bit-song, during the end of the film. "Kaththi Theme - The Sword of Enemy" and "Bad Eyes" theme tracks are used throughout the film, at the appropriate places and the Anirudh Ravichander's background adds more strength to the film's narration and pushes the impact of the sequences by several notches higher. 'Kaththi' is definitely, a feather in the cap for Anirudh Ravichander !

A.R Murugadoss continues the 'Thuppakki' feel and mood with 'Kaththi' as well, but there's plenty of 'Ramana' coating in it. This time, A.R Murugadoss has opted for a more serious social issue and he presents to us the domino/cascading effect of capitalist economy and corporatism in the current Indian scenario. He takes a lashing swipe at the bigwigs of corporate Indian conglomerates and how they capitalize and exploit the pitiable and downtrodden state of an average Indian, especially with the farmers. The film has some fiery, sucker punch dialogues, which was mouthed passionately and aggressively by 'Ilayathalapathy' Vijay, especially in the pre-climax sequence. Also, A.R Murugadoss hits at the news-hungry, 'salivating' media people, who only cares about target rating points for their respective channels and more circulation for the print media. Though all these are pertinent issues which should be discussed, the message does get quite preachy as the film progress. Nevertheless, A.R Murugadoss has tried to balance it with some high-octane "masala" elements such as cleverly written scenes and impactful action scenes. But the love track deserves zero-rating, for its ill-conceived scenes and redundant dialogues. But 'Ilayathalapathy' Vijay's fans might not complain much for their star's exceptional comic timing and expressions. There are some loopholes in the storyline, some logical lapse in the script, and exaggeration of the emotional quotient, but these are ought to be overlooked, if you are to enjoy a great "masala" action film. The staging of some sequences fell flat, which could have been dealt better and the transition of 'Ilayathalapathy' Vijay's characters should have been smoother and organic, with a proper delineation of both characters he portrayed. But whatever it is, A.R Murugadoss has definitely struck a chord with the audience once again, and 'Kaththi' seems to be another glowing addition to his CV.

'Kaththi' - Sharply 'Kaththi', indeed !


Ratings: 3.25/5 STARS

BY:TAMIL

VELAIILLA PATTADHARI MOVIE REVIEW

It's the 25th film for Dhanush and the star really needs a hit in Tamizh because his 'Mariyaan' was an average affair whereas 'Naiyaandi' was just one of his worst film's to date. Produced under his own home banner Wunderbar Films, this is the directorial debut for cinematographer R.Velraj and the music is already a blockbuster hit, coming from none other than Anirudh Ravichander. With everything hitting the right notes, can Dhanush pull off a hit with his silver jubilee 'Velaiilla Pattadhari' ?

Being the titular character, Dhanush carries the whole film on his shoulder and he is nearly there in every frame ! Its and out-and-out Dhanush film and he has simply rocked as Raguvaran. You can differentiate his performance between the first and the second half. In the first half, it's all about the actor in Dhanush. The subtle nuances, the impeccable comic timing, the camaraderie with his co-artistes and all the song and dance were just a perfect concoction for him to perform his acting histrionics. The second half was all about atypical Tamizh cinema 'masala' hero, where our underdog rises to the occasion and Dhanush flexes his star prowess by pulling off punch dialogues effervescently. The climax fight sequence was tailor-made for him to brandish his 6-pack and machismo & swag mannerisms.'VIP' is just a bang-on for Dhanush, who was a pleasure with his screen presence ! Amala Paul, plays the cutesy and sweet girl-next-door and looks equally sweet and charming. Savitha's dubbing enhanced the role's nature and Amala's post-marriage release seems to be a good mark in her acting career ! Saranya Ponvannan and P.Samuthirakani were brilliant as the middle-class parents and the chemistry they share between themselves, was beautiful to watch. Debutante Amitash was a little letdown as the antagonist, but you can't blame him much when the hero opposing him is a terrific actor. Vivek brings some laughter in the second half with his dialogues and voice modulation. 'Cell' Murugan, Surabhi, M.J Shriram, Hrishikesh, Vignesh Sivan and etc were good additions to the film as character artistes.

Nagu and Pallavi Singh takes care of the costume department and Pallavi scores in her work for the lovely attires of Amala Paul, who looked simple yet sweet and presentable throughout the film. Action choreography is done by a debutante Hari Dinesh and his choreography style for the film, matched the body language of Dhanush, which shows that he has done his homework, pretty well. The climax fight was well choreographed and it really upped the ante, especially with the trademark flying kick from Dhanush ! R.K Vijay Murugan's art direction was brilliant, especially with the interior works for the protagonist's middle-class home. The set properties were just so apt, it naturally blended and looked very realistic, and the camp-like house on the rooftop balcony was a sweetly executed ! Editing is by another debutante M.V Rajesh Kumar and his work deserves appreciation because the film does not have any draggy moments and it was precisely edited, with only the necessary scenes being kept. The songs could be a spoilsport for some, but in such commercial films, they are a must ! R.Velraj's cinematography complemented the film's script and though there are no outstanding framing from him, the necessity was not there due to the script's simplistic story-line. Yet, there are some beautiful night effect shots and also some rain shots, which R.Velraj really seems to be a specialist in !

The film would have lost half the luster, if it wasn't for Anirudh Ravichander's musical score. The songs were just a treat for the fans and each one of them are chart-busters ! "What a Karvad" was shot entirely on the empty streets and the lighting for the night effect shot was neatly done. Lots of top angle shots were used for this song. "Hey Inge Paaru" is a bit song, which has montages of Dhanush and Amala Paul bonding. "Sunrise Theme" appears sporadically in the film and features predominantly during the birthday party sequence. "Udhungada Sangu" follows immediately and was fully shot on the rooftop balcony, on Dhanush and Hrishikesh with some dancers. The beautiful melody "Amma Amma" sung by Dhanush and the legendary S.Janaki, comes right after the interval and is a fit situational song, with montages of Dhanush and Saranya Ponvannan. "Po Indru Neeyaaga" is another short song shot on the lead pair, but this time it has more intimate and romantic montages, in which a couple of them were beautifully shot in the rain. The titular track, "Vellaiila Pattadhari" was also used as a situational song, which highlights the underdog tag powerfully and was fully shot on Dhanush on construction sites. Finally, the "Smiling with the Pain" theme track appears sporadically in the second half. Anirudh rocks with the background score and the lilting string section portion is fast becoming a trademark of Anirudh !

'Velaiilla Pattadhari' is written and directed by cinematographer R.Velraj and his script managed to strike a perfect balance of commercial 'masala' elements, together with realistic story telling and with a powerful social message. As mentioned earlier, the first half was a very entertaining and breezy episode, with all the light-hearted moments, the songs, the blossoming romance, the comedic episodes and etc. It was almost reminiscent of a Selvaraghavan-type of presentation, minus the crude and in-your-face sort of dialogues and scenes ! The second half was all 'masala' with hero vs villain antics, the powerful punch-dialogues, the stirring emotional scenes, the addition of extra comedians and a dose of relevant and contemporary social message. R.Velraj just nailed it and together with a perfect team of artistes and technicians, the end product was simply a pure commercial film, which one can consider as a perfect, relaxing entertainment. Though the commercial elements are cliched, R.Velraj's writing was very organic and the screenplay has a neat flow to it. Also, the dialogues are very contemporary and colloquial and even the social message scenes were not preachy. The romance track was not overdone and some sequences were very sweet and endearing, especially the birthday party episode. 'Vellaiilla Pattadhari' seems to be a quintessential representation of the perfect 'masala' entertainer !

'Vellaiilla Pattadhari' - A bang on D25, Team V.I.P !


Ratings: 3.25/5 STARS

BY:TAMIL

YENNAMO YEDHO MOVIE REVIEW

Gautham Karthik, is back to the silver screen with 'Yennamo Yedho', after the impressive debut in the Mani Ratnam directed, 'Kadal'. With a relatively young and unknown cast, this project should put Gautham's cinematic career path, into his own hands. So, how did 'Yennamo Yedho' turned out ?

Gautham Karthik, definitely has the talents and potential to make it big in the Tamizh film industry. His screen presence is admirable and his energetic demeanor, makes him a charm. His dancing skill is quite good, but he can definitely work out on the expressions and dialogue delivery, which can enhance the dynamics of his character. Rakul Preet Singh, looks pretty and gets most of her lip sync right. She shares a good chemistry with Gautham, but performance wise, she can definitely do way much better. Her expressions and overall performance, do look artificial, at times. Nikesha Patel has not much to do, whereas Prabhu provides some form of lighter moments in the film. Anupama Kumar sufficed the need of the script and the others like Azhagam Perumal, Madan Bob, Manobala, Shakeela, Surekha Rani, Sai Prakash, Manohar, Raja Sankar, Sinitha, Kalpika and etc play inconsequential roles.

Sai and Shiva takes care of the costume department and their work was okay and fulfilled the script's needs. Kumar's art direction was just apt, especially with the wedding scenarios and the interiors of the locations such as posh bungalow homes. I.J Alen's editing was simple and neat, and there were no gimmicks with his approach. Action choreography has been handled by B.Thyagarajan and the initial car sequence was well handled. Besides that, the action is very limited since the film is a romantic comedy. Cinematography is handled by Gopi Jagadeeswaran, and his work has nothing extraordinary about it. The car action sequence was well handled, but other than that, its just average. 

D.Imman has scored some peppy numbers for the film, which will find place among music lovers. The pick of the lot, "Nee Enna Periya" sung by Anirudh Ravichander, was shot on the lead pair, with a roadside dhaaba erected for the song, followed by a farm-house like location with the pool-side being the main designated area. "Mosale Mosale" was shot on the lead pair, and this time the locations are in Thailand, where some portions have been shot on the rooftop of a city skyscraper and the rest canned in a Buddhist temple. "Muttaalai Muttaalai" is another peppy song, sung by D.Imman himself, and had the lead pair dancing to the tunes, in the city of Bangkok, with plaza squares and other urban landscape being the locations. "Shut Up" sung by Shruti Haasan, was shot on Gautham, in a club-like location. The typical colorful lighting, back-up dancers and a quintessential item girl, were all present in the song. "Podhaadha" is a pathos bit song, shot on the misfortunes of the heroine, whereas "Pudhiya Ulagai" has montages of the protagonist's own misfortune. D.Imman's background score was above average, and his melody based scores were the highlights.

Debutante Ravi Thyagarajan wields the megaphone for this film, but the film is a remake of the super-hit Telugu film, 'Ada Modalaindi' which starred Nani and Nithya Menen in the lead roles. The story and screenplay belongs to Nandini Reddy and though the Telugu original turned out to be a hit, the Tamizh version unfortunately fails to deliver. The supposedly breezy rom-com, turns out to be a dull affair. The sequences are not synergistic, which leaves us with loopholes and gaps in the screenplay, in addition to its snail-pace. There is apparently no reasoning nor logic in the continuity of the story and everything seems to happen at the convenience of the director's liking. The direction was below average, especially with the handling of the characters and plot setting. R.K Vidhyadharan's dialogues were below average too, apart from a couple in some comedy portions and scenes pertaining to Anupama Kumar's character. In conclusion, 'Yennamo Yedho' is truly a disappointing product and its pitiful to see a talent of Gautham's calibre, to be featured in such a sub-par feature film.

'Yennamo Yedho' - A truly half-baked attempt !

Ratings: 1.75/5 STARS

BY:TAMIL 

MAAN KARATE MOVIE REVIEW

Man of the moment Sivakarthikeyan, basking in continuous success streak, is back hopping around in 'Maan Karate'. His highest budgeted film thus far, the promotions and marketing has been top-notch, especially when you have an A-list director, A.R Murugadoss in the fray as a fellow producer and the main story writer. Hansika for the glam and Anirudh for the music, can 'Maan Karate' cement Sivakarthikeyan as a saleable actor ?

Sivakarthikeyan has been steadily rising the steps of stardom and 'Maan Karate' happens to be the next level for him. There's a complete changeover for him, especially with his appearance and looks. He has been given the designer costumes, a trendy hairstyle and props to look dashing on screen. His dancing skills has improved exceptionally well, with more grace and style. Performance wise, there's nothing exceptional, though. He has repeated the 'Ethir Neechal' act once again, as the 'underdog' template is there in 'Maan Karate' as well. His comic timing and spontaneity is his trump card, and he does it with ease and elan. A good entertainer, with impressive timing and sense of humor, but can he survive the test of time ? Only time will decide ! Hansika Motwani plays the quintessential Tamizh glam-doll heroine role, of being pretty, glamorous and cute. She does a pretty job with her lip sync, especially when the language is not something she has a grasp of. Vamsi Krishna as the antagonist has a rather tepidly written role and sharing the same scenario is writer Shaji as Sivakarthikeyan's coach. Satish makes us chuckle with one or two of his dialogues and Soori makes a cameo appearance as a hyperbolic boxing referee, and leaves his mark. Sayaji Shinde, Rajesh Gopalan, Vinu Krithik, Preethi Shankar, Ashwathi Ravikumar, Ravi Prabakar, Swaminathan, Arun Roja, Yogi Babu, Vikramathithyan, Tejaswini and etc makes up the rest of the cast.

'Maan Karate' has a superior technical qualities as opposed to Sivakarthikeyan's past flicks. First of all the costume designers, Sathya N.J, Vasugi Bhaskar and Sayaam (Chandigarh) have done an excellent job in giving the hero a good changeover with trendy costumes, and not forgetting Hansika, who looks appealing in the songs. Dhilip Subbarayan takes care of the action choreography and in this film, it is all about boxing. The bulk of the action work takes place in the climax, and it was a decent work from Dhilip. Not too much of an exaggeration but nothing extraordinary, at the same time. But still kudos for him for choreographing apt moves for Sivakarthikeyan. Sreekar Prasad's editing was spot on, especially with the smooth flow of the film and he made sure the film retained both the fantasy and commercial elements, perfectly. Debutante art director, S.Raja Mohan does a pretty eye-catching work, especially with the boxing arena erected for the climax portion. The appealing set gave the film a very glossy and rich look. M.Sukumar, known for his expertise in capturing rustic and jungle atmosphere beautifully with his lenses, impresses us with his cinematography in a typical commercial potboiler such as this, too ! His lighting was brilliant, which gave the film a very glossy and rich color, but the first few minutes showcased his talent once again, with pristine shots of waterfalls and the green forests. 

Anirudh Ravichander handles the music and the young chap is in full form, with this 'Maan Karate' album. Most of the songs are chart-toppers and are sensational hits with the youth. "Royapuram Peter" is the opening introductory song for Sivakarthikeyan and is a pure mass type of song. It was shot in and around the slum-like urban areas and the fish market, to project Sivakarthikeyan as a "mass" hero. "Maanja" had a very colorful look with bright and eye-appealing colored attires for the lead pair and backup dancers, and was shot in and around Pondicherry's attractive neighborhoods. "Un Vizhigalil" was the best shot song, which was also shot in Pondicherry, but in the empty and deserted streets, during the dead night. But M.Sukumar made the location look like a place in the fantasy world, with his brilliant lighting work and the color tone used against the lighting. A visual treat, indeed ! "Darling Dambak" was shot in the picturesque fields of Punjab and featured Hansika in a glam avatar. The visuals were catchy here too, especially with the misty feel. "Open the Tasmac" is the groovy gaana song, sung by the gaana legend, composer Deva himself. The song had a simple yet colorful set by S.Raja Mohan, resembling a street and shops and once again highlighted Sivakarthikeyan's improving dance skills. Do check out the special appearances by Anirudh and A.R Murugadoss in the song ! What's more impressive is Anirudh's background score in the film, which actually elevates the mood of the scene by several notches. His groovy and interesting musical touches adds more zing and peppy elements to the proceedings of the film. 'Maan Karate' is certainly another step higher for Anirudh !

A.R Murugadoss takes the credit for story writing and his former assistant K.Thirukumaran debuts in this flick, while taking in charge of screenplay and direction. To put it bluntly, 'Maan Karate' is nowhere near what was promised through the promotions and exaggerated expectations created before the release. The screenplay is just a plain sailing all out, which in other terms we could say "lazy writing", perhaps ? The first half of the film has no implications whatsoever on the film's theme and is just a hodgepodge of boy-gags and contemporary youth jokes, structured according to Sivakarthikeyan's style. What's less impressive with the making, is the manner in which Sivakarthikeyan has been unnecessarily hyped to be somewhat, a big commercial star. There's nothing wrong in being a star, but Sivakarthikeyan's USP is his boy-next-door charm and the down-to-earth sort of appeal, which made him a fan favorite so quickly. But 'Maan Karate' crushes those elements and make us wonder, "Why, Siva ? Why ?". The love segments are just downright silly and lame and the direction seems to be even more lazy. Only the last 30 minutes, seem to have some sort of seriousness, and now everything seems to be overtly melodramatic and 'life-or-death' sort of scenarios, which reminds us of Sivakarthikeyan's not so long ago release, 'Ethir Neechal' all over again ! R.Senthil Kumar's funny dialogues provide some respite, but gags alone does not make an wholesome entertainer, wholesome ! The boxing match sequences, involving Sivakarthikeyan, are just prime examples of farcical writing ! 

'Maan Karate' - Vijay's super-hit 'Badri' seem like a classic, now !


Ratings: 2.5/5 STARS


BY:TAMIL

IRANDAAM ULAGAM MOVIE REVIEW

Selvaraghavan, the master story teller of human being's dark emotions and relationships, is back with a magnum opus in 'Irandaam Ulagam'. With 'Aayirathil Oruvan', Selva has dabbled with fantasy before, but with a touch of history. So, what's the difference here ? Love is the thematic essence of this project and Selva throws a question to us by asking how far we would go for love. That's a question which can give rise to a myriad of answers, so let's stick with the question of how far did Selva go with his 'ambitious' project till date ?

What's strikingly similar with 'Irandaam Ulagam' and his previous projects, is the entire focus being projected on the lead characters. The story revolves only about them and evolves along with them. Its the same here as well, but with a small change. The lead artistes are made to enact two different roles, each. Let's start of with Arya. Having a time of his life, in regards to his cinematic career, he seems to be an interesting choice for this film, especially when the character has a heavy hangover of Dhanush, written all over it. But Arya, excels as the soft-spoken Madhu Balakrishnan. The calm and composed manner of dialogue delivery, gave the character more conviction and Arya seems to be very confident about it. Whereas, as Maravaan, Arya certainly had the hard, strong and massive physique necessary for the role. Kudos to him for beefing up to that extent and for showing the dedication towards his role. Emotional quotient wise, this character suffered a lot and there was not much of acting scope for him. 

Anushka Shetty on the other hand, was cute and adorable as Dr.Ramya. Her nuanced expressions are the plus points. As Varna, the warrior girl, she is the best choice in the industry, thanks to her imposing height and sheer confidence. We don't get to see the heroines of Tamizh cinema kick some butt, in a convincing manner, but you have it all here, with Anushka doing the swashbuckling antics, usually reserved for the heroes, with ease. Chinmayi's dubbing suited Anushka, to a certain extent. Both the lead artistes, share a good chemistry, but it was not utilized properly by Selvaraghavan. Venkatesh Harinathan and Padma Raman, don the peripheral characters quite well, but the Georgian artistes were just a big drawback. Though one can appreciate their dedication in getting the lip-sync quite well, they were just too amateurish with their performances and left a mark of artificialness, very bluntly !

For all the grandeur connected to the film, we could just wish that the costume designer Deepali Noor could have done a far, better job in the costume designing department. It just makes a mock of the budget of the film ! Action choreography was different, especially with the sword-fights, executed neatly by Arya and Anushka and well choreographed by 'Ruff' Rajashekar and Zura Nanobashvili. Dr. K.Kiran's production design is splendid. He has worked in tandem with the direction's so-called vision of the apt exo-planet and had adorned the sets with apt props for the fantasy world episodes. Veteran editor, Kola Bhaskar deserves a lot of appreciation for the painstaking effort in the editing department. He managed to put together the VFX-filled sequences quite well, and tried to maintain a decent tempo for the running time, though more work from his sharp scissors, could have done more good for the film. Keith Devlin and Merzin Tavaria's visual effects design was rich with psychedelic colors and the imaginary, mythical beasts. As having spoken about the visual effects, the experienced Ramji must be congratulated for his hard-work in cinematography. His framing and lighting is an immense contribution for the visual effects sequence. The snow-pouring sequence, late in the second half was beautiful, with soft lighting and a deep color tone. 

Harris Jayaraj teams up with Selvaraghavan for the first time, and this combo has produced a unique track-list. Though the songs might appeal as standalone, they do not gel well with the script, and its below par, for Selvaraghavan's standards. "En Kaadhal Thee" is the opening song and was shot on the lead pair, in both worlds, which had many montages, with nice framing by Ramji. "Kanimozhiye" was shot on the characters Madhu-Ramya, and also had plenty of montages, shot in a camp-like scenario. "Pazhangkalla" was the only purpose shot song sequence, featuring Arya as Maravaan, and had a bar-like atmosphere, though the set was made to look like with an ancient Eastern European-sort of interiors. "Mannavane" was rich in color, especially with the snow effect and had apt angle and framing, to capture the necessary moments, required for the sequence. The song was shot on Arya's Madhu with Anushka's Varna. 

Anirudh Ravichander, the hot-shot, on fire music director has handled the background score and has added an additional two songs for the film. "Penne Nee Enna" was used as a background score and was used for the fantasy sequences, whereas "Iravinil Oruvanai" was a situational song shot on the lead pair in the real world. Anirudh certainly adds a different color to the film with his background score, which is rich in sound and grandeur, since it was recorded at Hungary by using the services of the Budapest Symphony Orchestra. It is certainly a big challenge for Anirudh to score for such a project, at such early stages of his career. In fact, the background score sounded more in tune with the script, if you are ought to compare with the song compositions. He has given his best and hope the lad will continue to experiment more with his musical compositions.

Selvaraghan is a passionate movie maker, and it has been evident in his previous films, with intense portrayal and brooding screenplay. With 'Irandaam Ulagam' ? The passion transfixed at the conceptualization stage alone and gets lost miserably, when the necessary transmission to screen, was acquired ! What's appalling, is the shallow and weak characterizations of the lead pair, and its an even bigger shock to see it coming from Selvaraghavan ! There is no depth in the lead roles, and that projected a confused state-of-mind image for the artistes, throughout the film, who must have not fully understood, the actual intricacies of their respective characters.The non-linear screenplay further deteriorates the necessary impact from the lead characters, towards the script and us, the viewers. Selva's 'Aayirathil Oruvan' was a good attempt, but without a strong script, what's the point of dabbling with an innovative concept ? Yes, Selva should be applauded for his daring attempt, but did he justify his bravado act ? Certainly, no ! For those who keenly observe and keep up to date with Selvaraghavan's projects, they can certainly sum up that Selva has dusted-off his old Dhanush-Andrea script, and added a fancy, fantasy element to it for apparently no, convincing reasons ! The need for foreign locations is not justified properly, and Selvaraghavan could certainly do away with the unnecessary 'neon-lit' atmosphere he visualized for the Georgia-based sequences. The striking colors, robbed the beauty of Georgia and a realistic environment could have convinced us better that, it is indeed another world, after all ! Selva's cheeky dialogues were a relief, only in the first half. The second half drags big time and as with the case of 'Ayirathil Oruvan', Selva leaves us with lots of unanswered questions and loopholes in the script. 

'Irandaam Ulagam' - Undeniably, Selvaraghavan's worst film, thus far. In, Selva's standards, that is !


Ratings: 2.75/5 STARS

BY:TAMIL

VANAKKAM CHENNAI MOVIE REVIEW

'Vanakkam Chennai' has been making the right noise since its inception and its noise increased by a few decibels  thanks to the super-hit soundtrack from the young starlet Anirudh Ravichander. A directorial debut by Kiruthiga Udhayanidhi and the project being bankrolled by her husband, its pretty much her comfort zone and its rather a safe-bet in penning a rom-com script. The music was really good, but how does the movie fare ? A dream debut for Kiruthiga ?

Shiva, one should say, has chosen a script which offers more serious sequences and acting capabilities for him. Though there are plenty of sequences, which enabled him to showcase his trademark comic timing and dialogue delivery with a "poker-face" reactions, the script did offer him more than that, and he has managed to dish out a decent performance indeed. Credits to Kiruthiga for adapting Shiva's style and incorporating into this rom-com, perfectly ! Expecting more from Shiva after this and hoping for more refreshing roles from him. Priya Anand proved that she's more than a pretty face and the damsel nailed it with a fine performance. The excelled in the second half and in the climax sequences. She's pretty much comfortable in her role as an NRI and has tried perfecting her English accent. Her pleasant screen presence and good dialogue delivery in her own voice, are added plus points for her. An apt choice for the role, indeed ! Santhanam, is at his comfort zone and has done it for the umpteenth time. His wisecracks are funny, though its getting repetitive. Rahul Ravindran makes a good entry in the second half, but sadly his character does not leave much impression. Oorvashi, Manobala, 'Black' Paandi, Aarthi, Swaminathan, 'Nizhalgal' Ravi, Misha Ghoshal, Renuka, C.Rajkumar and etc were apt for their roles and there are some noteworthy cameo appearances from Sangeetha, Nassar and producer Udhayanidhi Stalin himself !

Shilpa Vumitti and Rajini Natraj Vishnu should be appreciated for their fine works in the costume designing, for Priya Anand and Shiva, respectively. Priya, especially looked a million bucks and would 'Vanakkam Chennai' is the best of her films, in showcasing her gracefully. Dhilip Subbarayan's "unique" action choreography was well executed and is a pleasant surprise indeed. Good job from the artiste who did the action sequence ! V.Selvakumar's production design is tastefully done. The plush apartment setting and the sets erected for the songs were rich in colors and detailing, and gives a colorful ambiance to the film, as well as a glossy look, too. T.S Suresh's editing was flawless and neat for the songs, especially but he could have trimmed down the second half a little. Richard M.Nathan's cinematography is a big plus for the film, since its his work which gave the film the rich and pleasant look throughout. He has captured the picturesque beauty of Theni very well, with brilliant framing and also his camera movement for the indoor sequences are very commendable. The space in the sets were well utilized by Richard, and the soothing visuals are the results of his excellent work. 

The actual star of the film, is definitely the hot-shot young music director, Anirudh Ravichander. His songs are a knock-out and absolute chart-topping numbers. "Ailasa Ailasa" is the opening number which had a photography exhibition as its backdrop and some great photographs were included as slides for the song, with some neat camera movements by Richard M.Nathan. "Hey" had plenty of montages and was shot on Shiva and Priya Anand, each of them separately, and showcased their new adventures. The urban sets complemented the mood of the song. "Engadi Porantha" was shot in Binny Mills, which was colored with vibrant colors and designs and had well-dressed back-up dancers, accompanying the lead pair. Some montages are interspersed into this song sequence as well. "Osaka" was beautifully shot by Richard M.Nathan in Theni and had wonderful and pleasing visuals of the rural land, with greenery and dry lands, equally portrayed. Priya Anand looked beautiful in the traditional attires, too ! "Oh Penne" was picturized cleverly with some camera tricks employed by Richard, in creating a puzzling illusion for the audience. The dream-like set work by neatly done by V.Selvakumar and Priya was a stunner in this song ! "Chennai City Gangsta" was showcased during the closing credits and was done like with a music video concept, featuring Anirudh Ravichander himself, alongside his singers, Hard Kaur and 'Hip Hop' Tamizha. Anirudh's background score was also rocking and blended perfectly well with the script. 

'Vanakkam Chennai' is a rom-com to its truest sense. The first half goes breezily with well-placed songs and some light-hearted moments between the lead pair and only the second half of the film, Kiruthiga did employ some emotional quotients of the script. The screenplay unfolds in its own sweet pace, which may test the patience of some audience, but many would not be complaining, since the sequences were enjoyable. Though the lead pair's characters were well written, a few peripheral characters such as Oorvashi and the one who plays Rosy Aunty, were needless and irritating. The climax is a little stretched out, which could have been much tighter. What's pleasant here is that, there are no sour-face inducing sequences nor double meaning dialogues anywhere, and credits to both Kiruthiga Udhayanidhi and S.Divyanathan for developing such a screenplay and clean dialogues. Since the people behind the writing of the film are clever women, such an end-product is expectable  . The blossoming-of-love episodes could have handled with more maturity and deft handling, which could have accentuated the feelings the sequences tried to convey. Kiruthiga actually achieves the necessary element of a rom-com, which is the rooting for the lead pair by the audience, and its commendable that she has managed to do it in her debut film. 

'Vanakkam Chennai' - Delivered what it promised and meets the expectations generative of such flicks. 


Ratings: 3/5 STARS

BY:TAMIL

ETHIR NEECHAL MOVIE REVIEW

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

BY:TAMIL

DAVID MOVIE REVIEW

A very interesting attempt, 'David' is the first "direct" Tamizh film of Bejoy Nambiar, the former assistant to Mani Ratnam and the director of the critically acclaimed Hindi flick, 'Shaitan'. Shot in Hindi and Tamizh, 'David' is an intriguing tale, depicting two characters of different backdrop, era, and characteristics but connected by one single element, which is the name of David and a message attached to the name. Multi-narratives are a rare breed in Tamizh cinema, and kudos to Bejoy, for attempting to make one. The Hindi-version has an additional storyline, making it as three protagonists, but Bejoy plays safe with two in Tamizh. With two powerhouse performers in Dr. 'Chiyaan' Vikram and Jiiva, did Bejoy nail it ?

Starting with Dr.'Chiyaan' Vikram, this film must have been a welcome relief for him, as he has enjoyed doing the role of a bride-punching, liquor-guzzling (that too through a funnel !), notorious, fisherman. He was endearing and charming in his portrayal throughout his episode and his relationship with Tabu was wonderfully written and picturized. An excellent performance from 'Chiyaan' after a very long time. Jiiva on the other hand, was the exact opposite, with a very serious but energized portrayal. He displays the correct level of intensity and expressions needed for the emotional scenes and proves once again that he is one of the best performers in Tamizh cinema, among the younger breed of leading heroes. The other best role in the film was of Tabu's and what nonchalant, and matured performance from her ! She simply sizzles as 'Frenny', the friend cum adviser of Vikram. Deepa Venkat's dubbing was okay for her but still it takes out the originality of the character. Isha Sharvani, was angelic and sweet as the deaf and mute girl and was very apt for the role of 'Roma'. Lara Dutta comes out with a neat and composed performance and got her pronunciation right for the lip-sync. Saurabh Shukla is a scream in his role, whereas Nassar was as good as always as the devout Christian priest. The rest of the cast such as Rohini Hattangadi, John Vijay, Nishan, Prahlad Kakkar, Shweta Pandit, Sheetal Menon, Sunder Ramu, Manish Jha, Sathish Kaushik, Rubi Chakravarti and etc all were very apt and performed realistically in the film. A big cast, but wonderful performances from all. Bejoy should be lauded for the characterization of all the roles, enacted in the film, which were well written.

One will look forward to a Bejoy Nambiar film for the technical finesse, and Bejoy does not disappoint us. All technicians involved in this project are some of the best in the industry, and Bejoy has used their capabilities to good use. Ameira Punvani and Falguni Thakore's costume designing was very apt for each era and characters involved in the dual-story lines of the film. The look for both Jiiva and Vikram was perfect. Stunts were very well choreographed by Javed Aejaz and what makes the stunt sequences authentic, is that the fights for each lead protagonists imbibed the characteristics of the protagonists, be it the drunk Vikram or the angry Jiiva. Well done, Javed ! Rajeevan's production design was very natural and authentic. The props for each setting, be it Mumbai or Goa, were very much original and his presentation made it look believable. Sreekar Prasad's sharp editing kept the pace of the film bearable and nearly avoided being too languorous. Ranganat Ravi's sound designing was also spot on, with the necessary minute sounds, well implemented in the film. The film definitely belongs to the two very talented cinematographers, R.Rathnavelu and P.S Vinod. The former's picturization was very exotic and pleasing to the eyes, with perfect lighting and the appropriate 'sunny' tone of the Goan episode. Whereas, the latter's Mumbai shots were gloomy, dark and gritty in nature. The fight sequence was fantastically shot, with brilliant lighting and color tone used for it. Both cinematographers showed their expertise in their respective episodes, and it was indeed a very smart and creative move by Bejoy to employ different cinematographers each episodes.

One of the highlights of the film is the soundtrack and the eclectic-mix of the artistes involved, gives different shades to the whole album. Nonetheless, the soundtrack is a trend-setter and warrants repeated listening, for one to appreciate the music. But sadly, the songs were just used sparingly in the film and is woven into the flow of the screenplay, which cut shorts the length of a song ! "Vaazhkaiye" by the Bramfatura duo, is the opening song and also serves as the theme music of the film. It was picturized in , covering the climax sequences of both story-lines. "Maria Pitache", composed by Remo Fernandes, was shot on Dr.'Chiyaan' Vikram brawling with fellow drunkards, in a set resembling a Goan hut cum bar setting. "Machi" by Modern Mafia, is a montage song, shot in a first-person perspective technique, on Jiiva's daily routine as a guitarist. "Theerathu Poga Poga" is a lovely song composed by Maatibaani, shot on Vikram, Nishan and Isha having fun together. R.Rathnavelu's lighting and camera movement was good for this song. "Iravinil Ulavavaa" is a catchy song composed by Prashant Pillai, which was shot beautifully on Vikram and Isha, in a "boatride-under-the-moonlight" scenario. "Manamey" is a thumping song, full of percussion beats, composed by Prashant Pillai featuring Tao Issaro. As mentioned earlier, P.S Vinod's cinematography was brilliant in this song which was shot on Jiiva taking on a bunch of guys. The rain effect was put to good use, with minimal lighting and apt color tone. "Kanave Kanave" by Anirudh Ravichander is a beautiful, soothing melody used in both story-lines and was placed appropriately in the screenplay, but was used minimally, sadly. The "Light House" track by Remo Fernandes was used throughout the Goan episode as a background score and not to forget, Mikey McCleary's background score, especially for the Mumbai episode was brilliant.

First things first. Bejoy Nambiar is a director of substance and it is evident in his narration and directing skills. He somehow magically makes an ordinary scene to look extraordinary, powerful and gripping with his narrative skill. The Vikram-Tabu sequences were handled with high-level of composure and maturity and is a delight to watch for its casual treatment ! There is a deep and philosophical message, underlying in the script, which is revealed, post the inner-battle of the lead protagonists and the screenplay by Bejoy Nambiar and Natasha Sahgal was not bad. But what spoils the film, is the heavy-dubbed feel we get, while watching it. A majority of the artistes involved in the Hindi version is retained for the Tamizh version and the dubbing was awful in most of the scenes. The poor dubbing spoils the originality of the film. The dialogues by Manikandan.G and Venkat Subbaraj was of no help as well, as it lacks the depth in creativity and sounds plain simple. Though the film looks fine if you go scene-by-scene, the overall story-telling was a letdown, as there's not much connectivity between the two story-lines and each track had a different mood and pace to it, which might test the patience of viewers. Also, its unforgivable for a director of Bejoy's class to make silly mistakes in detailing. One glaring mistake is the scene where Nishan sings the "Pondaatti" song from the film 'Osthe' at Isha. Mind you, the film came out in 2011 but the timeline of the Goan episode was 2010 ! Such silly mistakes must be avoided as it further spoils the interest of the viewers.

'David' is a unique and interesting attempt from Bejoy, which has excellent technicians who delivered superb outputs in the film, especially the cinematography and music department. But disappointingly, it did not really live up to the expectations it generated prior to the release. A film which could and should have been much better, as it promised a lot, but served pretty less than what was promised.


Ratings: 3/5 STARS

BY:TAMIL

'3' MOVIE REVIEW

One of the most eagerly expected film of the year, thanks to the popularity and craze of one particular song ie, "Why This Kolaiveri", '3' has been gaining popularity thanks to marketing techniques of the production team, Wunderbar Films which belongs to Dhanush and Aishwarya R.Dhanush, the director and wife of the protagonist of the film. Anirudh Ravichander,the debuting music director, makes a sensational debut, with a refreshing and soulful album. The relatively young cast, invokes more curiosity around the film. So, did the film live up to all the hype it created ?

The performances of the lead artistes were poignant, soulful and were of heavy duty-material. Dhanush, has been having an extremely good time and with his previous, 'Mayakkam Enna' earning him rave reviews, he continues his form in this film as well. Though the role he played looked like an extension or evolution of the one he essayed in 'Mayakkam Enna', he makes it up with different portrayals of moods and emotions. Its no easy at all, to perform strong emotions, facing the camera single-handedly with no cues for support, Dhanush came up with a brilliant and fantastic performance. His additional advantage is his looks and physique, which enables him to portray different age-periods of his character. Take a bow, Dhanush ! Shruti Haasan, who is into her second film in Tamizh cinema after '7am Arivu', makes a decent outing in the film, with much improved performances. Her dialogue delivery was good but she struggles a little, when it comes to very heavily, emotional sequences. With more experience, the starlet of 'Ulaga Nayagan' can make it up. Sivakarthikeyan and Sunder Ramu provided som funny moments, especially the former, with fantastic comic timing and dialogue delivery (expecting more from him) and the latter continuing what he did previously in 'Mayakkam Enna'. A big suppor to all of them were the veterans, Prabhu, Bhanupriya and Rohini whom, needless to say, were brilliant with very subtly nuanced performances. A special note must be made of the little girl, Gabriella who was splendid as the mute sister of Shruti.

The film boasts of very talented technicians. Resul Pookutty and his associate Amrit Pritam, handled the sound designing portion very well. The subtle and minute sounds were audible, especially during the rain and fight sequences. Chaithanya Rao's costume designing was classy and efficient at the same time, with the characters looking how they should have been portrayed, especially for the different time-periods. Silva's car-park stunt sequence was well choreographed and was natural, though it was picturized in a little dramatic manner. Kola Bhaskar's editing was flawless and crisp, but it could have been smoother during the song sequences. Kiran's art work was a touch of class as well, especially the posh apartment sets and also of those middle-class house setting, which looked very natural. R.Velraj's work is a big asset for the film, because his cinematography work was excellent. His framing and lighting was very apt for the changing nature of the mood of the script. His picturization was crystal-clear, especially for the rain sequences. Not to forget, as usual, he shows his prowess during the darkly-lit sequences, with minimal or no lights. Brilliant work from him !

Anirudh Ravichander, the cousin of the director makes a smashing debut through this film. His musical score was melodious and soul-stirring, which is another vital importance for the film. Almost all of his songs were already super-hits before the release of the film. "Idazhin Oram" was picturized in a montage manner, with many cut-shots and depicted the teenage lives of the lead pair, falling in love with each other. "Kannazhaga" was picturized in a small, and middle-class type apartment in a night sequences, against the lead pair. R.Velraj's close-ups on the lead pair, helps to elevate the mood of the song. "Come on Girls" was shot in a club sequence, with plenty of dancers in a party mood, celebrating the marriage of the lead pair. "Nee Partha" is another song shot in a montage style, depicting the happy and romantic post-marriage period of the lead characters, shot mostly in a posh, apartment setting. "Po Nee Po", is a soul-stirring, emotional and situational song, which is also shot in montages, featuring the emotional travails of the lead pair, late in the second half. The smash-hit song of the album, "Why This Kolaiveri" was surprisingly, disappointingly-shot. The protagonist was shown dancing with dancers in a beach-side hawker vendors' stalls setting. The zing of the audio was not visible in the video, and it's a big letdown from the team, considering the fact, that it was shot only during the ending period of the film's production process ! Anyway's, Anirudh made sure that his background score too gets noticed, and he did not fail in his endeavor. The background score was simple, yet melodious and beautiful. A fantastic work by the young musician. Welcome to Tamizh cinema, Anirudh !

Aishwarya R.Dhanush makes her debut as a director, after assisting her brother-in-law, Selvaraghavan. Not surprisingly, her script and screenplay have the remnants of her mentor's touches. She has good writing skills, which is evident in sensitive, poignant and subtle sequences she has penned in the screenplay. The humor portions and the songs, were well inserted into the screenplay. The dialogues were simple and pretty straight-forward. What pulls down the quality output of the film, is the slow screenplay and also Aishwarya R.Dhanush's decision in depicting her script in a non-chronological order, which takes the impact of the suspense element out from the film, in the beginning moments, itself ! Also, few questions can be raised, regarding the proceedings of the screenplay, which are quite implausible and inadvertently, leaves some loopholes in the script. However, she should be appreciated for sketching strong and in-depth characters, whom looks original and believable. 

'3' actually did not live up exactly, to the expectations it evoked, but this is a very good effort from Aishwarya R.Dhanush on behalf of her husband's home production team. If the flaws are overlooked, this film is a good-watch.

Ratings: 3/5 STARS

BY:TAMIL