Kalaippuli S.Thanu, known for his lavish expenses for his productions, is back after the huge success of 'Thuppaki'. This time, its the protege of his 'Thuppaki' director A.R Murugadoss, called Anand Shankar. The youngster has assembled a good team and has cast the fast emerging Vikram Prabhu and the current favorite of youth, Priya Anand. With a good production unit and a good technical crew behind him, can Anand Shankar replicate the success of his mentor for the same producer ?
Vikram Prabhu is getting good with each film of his and in 'Arima Nambi', he pulls of the action hero image, quite comfortably. His lanky physique, with a good screen presence helps him to nail the character quite well. The actor has been working on his looks and dance movements as well, and it seems to be paying off well ! Priya Anand has a very fashionable and upscale look to her character. She fits the bill and is the pivot around which the script revolves. She gets it right in the performance department as well, with an acute and mature acting. J.D Chakravarthy makes a deadly entry as the surprise antagonist of the film, and though the intense actor keeps our attention, the character somehow fizzes out to be an average villain we get to see in most Tamizh films. Arjunan, Yog Japee, Aruldass and etc have taken up some important character roles and there are cameo appearances from Lekha Washington and M.S Bhaskar, with the latter coming up with a terrific performance !
Costume designing is handled by Chaitanya Rao, Komal Shahani and Perumal Selvam, and their work was very good, complementing the look and design of the film. Since the film projected an upmarket feel, the lead artistes' costumes were trendy and stylish. One of the film's biggest asset is the action choreographer Dhilip Subbarayan. His action sequences were superbly staged and executed, especially the one before the climax. Though the action sequences were brilliantly executed, its quite obvious that the choreography is an imitation and has been inspired from the Bourne series, starring Matt Damon and directed by Paul Greengrass. Even the henchmen depicted, has the same hairstyle and body language ! T.Muthuraj's art direction was superb, especially with the detailing he has given to the posh apartment, hotel room, and office premises shown in the film. The properties bear a chic and stylish look throughout and adds more glossiness to the film. Editor Bhuvan Srinivasan's cuts are worth mentioning, especially for the action sequences, but he could have definitely trimmed the film's duration, especially for the lagging second half. Ace cinematographer R.D Rajasekhar proves once again, why he is known as a specialist cameraman for action scripts ! The visuals are superb and he has rightly captured the upmarket ambiance very well, especially for the song picturizations. His lighting for the night shots are fantastic as well and his work definitely helped the film achieve its intended look and feel.
Popular percussionist 'Drums' Sivamani makes his debut as a music director in this film. His music blends well with the script, though they are not chart-busters. "Yaaro Yaaraval" was shot in a Hard Rock Cafe ambiance, with excellent lighting and camera movements, within a limited space. The song has a MTV-music video like feel to it, and Vikram Prabhu shows his comfortableness in handling dance and song, as well. "Naanum Unnil" is a belly dance number, featuring svelte dancers in glamorous costumes. It was intended to look like a music-video shoot and R.D Rajasekhar's lighting comes handy, in giving the song the right mood. "Idhayam Un Idhayam" is a romantic duet, and was shot in the exotic and heavenly location of Erawan Falls, situated in the Erawan National Park of Kanchanaburi province, Thailand. The beautiful blue waterfall is a visual treat for the eyes, and R.D Rajasekhar has tried his best in delivering the scenic location from all sorts of interesting angles. Background score by Sivamani gelled well with the scenes and complemented the feel of the script. A decent debut for Sivamani !
Anand Shankar, a protege of A.R Murugadoss, has diligently followed in the footsteps of his mentor. His clever scripting for the first half keeps us glued to our seats, due to the onslaught of action sequences and the guessing game going on. Anand Shankar, keeps it simple with no irritating comedy portions, unwanted romance sequences nor heavy build ups for his protagonist. He maintains the tense mood for most of the film, and has inserted the action sequences at the right moment. His detailing work is excellent, especially with the clues, suspense element and also for his research homework on gadgetry and current world scenarios. There are one or two surprises thrown in the script, which keeps us enthralled. The first half was very well crafted and executed. But the second half takes a little beating, where Anand Shankar has taken the quintessential Tamizh cinema liberties, by infusing some 'masala' elements into the film. The second half drags unnecessarily and all logic took backseat, especially in the climax, where J.D Chakravarthy's antagonist role turns the whole police department into his private henchmen and our protagonist is as good as a trained secret service officer ! There are plenty of small loopholes and loose ends in the script and the director gives away the all-important crucial story of the script quite early and it also lacks some finesse in its writing. But Anand Shankar can be appreciated for his directorial skills and his handling of scenes, as well as good characterization works.
'Arima Nambi' - A trustworthy commercial film !
Ratings: 2.75/5 STARS
BY:TAMIL
'Sutta Kadhai' made noise for its unique teasers and posters. Coming from the stable of total newcomers, it piques the interest of audiences with new ideas and creative presentation. With some good artistes in the casting, did this pulp-fiction inspired film live up to its expectations ?
Television host and celebrity Balaji Venugopal and Venkatesh Harinathan play the two bumbling, dubious constables to a certain respectable degree. Balaji as the dumb kleptomaniac, uses more of his facial expressions and dialogue delivery to delivering his acting chops whereas Venkatesh, who has partial hearing disability, utilizes his good body language to bring out the character's personality. Nassar, was the true scene-stealer with his impeccable expressions and comic timing. The veteran simply oozes class, especially with his snooze mode antics. Lakshmi Priya Chandramouli fits her character and pulls off some stunt movements with confidence. Jayaprakash leaves a good mark with his unique dialogue delivery. R.S Shivaji, Lakshmi Ramakrishnan, M.S Bhaskar, Jayamani, T.P Gajendran, Shanmuga Sundaram, Rinson and etc fits the crazy characters they enacted.
T.Ramesh's stunt choreography is a little over-the-top, but it was essential for this sort of script and Lakshmi Priya, handled most of them quite well and with ease. Sivakumar's costume designing was okay, considering the shoe-string budget he worked one, with some good, minute detailing. Sivaraj's production design should be appreciated, especially the police station set and the various props used for different plot settings, such as forest, comic book world and etc. Surya's editing was though slick, in regards to the length of the film, drags big time in the second half. Nizar's camera work is commendable, especially the way he has utilized the natural landscape of Kodaikanal and adapted it very well for the design and mood of the script. The night effect shots, were professionally handled, especially in regards to lighting. Kudos, Nizar !
Music of the film was handled by the Madley Blues band, consisting of Harish Venkat and Prashanth Techno. Songs were decent, but nothing really brilliant about it. The opening song, "Kattukulle" was terrifically designed, using the comic book template design, where the director intricately weaved the whole film's plot. Superb idea and execution ! "Yelay Yelay" had plenty of montages and focused on the lead pair of bumbling cops, rooting for the tribal female lead. "Dingu Dongu" was shot on a cheap liquor bar setting, with plenty of earthy tone and feel to it, which was complemented by apt set properties. "Twist on Top" is a situational track number, with good camera movements and angles, focusing on Jayaprakash's episodes. "Anbe Aaruyire" was the climax, situational song and featured a few characters going against each other, in a dark forest. Nizar did a very good job with the lighting, and the slow motion effect added to the pulp-fiction effect, the director was striving to present. The background score was adequate and fun.
Written and directed by newcomer, Subu, 'Sutta Kadhai' is basically a dark-comedy film, inspired by the 'Sambasivam Crime Comics' template. The problem with this idea, is that many will not be able to relate to such Tamizh pulp-fiction comics, and that was a craze for youngsters of a generation ago ! The fun quotient of comic book story-line and presentation did not translate smoothly from the print edition to it's celluloid version. The characters, though unique and quirky, do not stand out properly and is marred by poor writing and characterizations especially in the second half. What's unpalatable is the fact that the film is crisp in duration, yet drags big time in the second half ! The funny moments and twists in the second half, falls flat entirely. A dark comedy should be not be just dark in visual presentation, but also in its writing. Subu can be commended for his various absurd sequences, but the connective thread is missing and the story becomes dull.
'Sutta Kadhai' - Novel attempt, but not so good execution.
Ratings: 2.25/5 STARS
BY:TAMIL
After the cult-hit 'Soodhu Kavvum', the in-demand hot-property of Tamizh cinema, Vijay Sethupathi is back quickly. Another off-beat project and another dark-humored film. But the direction is by Gokul Ramana instead, who previously wielded the baton for the Jivva-starrer 'Rowthiram'. What's interesting is that Madhan Karky has been roped into the board as a dialogue writer and the barrage of peripheral characters. Did 'Idharkuthaane Aasaipattai Balakumara' satiate the thirst of fans of different attempts ?
Vijay Sethupathi, has rocked it once again with a brilliant and acute performance. This guy is raising the bar for himself, higher and higher for each of his films, and this flick is no different from it. The guy oozes composure and apt maturity to handle this peculiar 'Sumaar Moonji Kumar' character with panache ! His improvisation in dialogue delivery is fantastic and he finishes off his dialogues with the apt timing, needed. His theater experiences, have obviously molded this guy into a very good performer. The climax definitely belongs this chap ! Ashwin Kakumanu, has a parallel role as Vijay's, which plays an important part in the script. His histrionics are diametrically opposite to that of Vijay's and he has grabbed his opportunity with both his hands. Though some sequences might suggest a sense of over-acting or exaggeration, it adds more zing to the script. The balancing act sequences between his nagging boss and possessive girlfriend, was well performed. Swati Reddy and Nandita, look good on screen and did what was required from them, with limited screen space though their characters were of importance to the script. The supporting cast have been fantastic as well and all added more fun elements to the script. Pasupathy takes the cake but still others such as M.S Bhaskar, Soori, Livingston, Robo Shankar, Rajendran, Daniel, Sai Ramani, Madhumitha, Pattimandram Raja and etc were fun to watch with their unconventional and peculiar characters.
Harikesh and Karthik did their research well, in terms of the costume designing, as each character was very much complemented by their costumes, which reflected all the weirdness the characters portray. Anbariv's action choreography was adequate and very realistically choreographed. S.Sivaraj should be applauded for his very detailed work in regards to the production design. All the minute, small props mattered for the sequences, which mostly was shot on real locations and some of the artificial sets, looked very much realistic as well. Leo John Paul's editing styles worked aptly with the presentation of the script, though the second half's pace drops a little and the dragging factor, kicks in. Mahesh Muthuswamy's cinematography style was very contemporary and fits the mood and feel of the script.
Siddharth Vipin's music was peppy and appealing to the audience. "Naaye Naaye" is used as a background score during Vijay Sethupathi's introductory scene and also in the late second half. "En Veetula" is the pick of the lot, and was shot on Vijay Sethupathi and Nandita, in and around a low-cost housing colony board. Plenty of dancing and montages are interspersed in between the songs, and its also great fun to watch and listen to this number. "Yean Endral" was shot on Ashwin and Swati, and also had plenty of slow-motion montages. The backdrops were based on contemporary and modern urban-setting. "Enge Ponalum" is the infamous "Prayer Song" and was shot in a bar-like setting, which had good detailing work by S.Sivaraj. V.S Raghavan makes a cute cameo appearance in this song, and Vijay Sethupathi is slowly picking up the dancing skills. The background score too is fun and brings out the quirky elements of the script, very well.
Director Gokul Ramana has cleverly laid out all his ideas and plans and placed them well in his script. But the screenplay was a winner, which was very cleverly and intriguingly written. The narration does not lose its core contents and makes us to stick with the characters for the entire film. To add more strength to the writing, is Madhan Karky's funny, intelligent yet unconventional dialogues. The film is replete with funny dialogues and its great fun to watch black comedies, written and executed well in Tamizh cinema, these days. Though Gokul has perfectly played his cards by executing each of his mini-ideas into the screenplay, the second half could have been a little tighter. Also, the director should be applauded for his character sketching and apt casting for each roles. Not to forget, cheers to Gokul for ending this dark-humored film on a sweet note, which leaves us with a smile on our faces.
'Idharkuthaane Aasaipattai Balakumara' - We are "HAPPY", too !
Ratings: 3.25/5 STARS
BY:TAMIL
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
BY:TAMIL
Tha. Prabhu Raja Cholan, a former associate of Shankar makes his debut as a director in the uniquely titled, 'Karuppampatti'. Started three years ago, 'Karuppampatti' finally sees the day, and luckily the hero Ajmal, has a better market, thanks to the big success of 'Ko'. With interesting locations such as Paris and the extreme opposite of it, in rural Tamil Nadu villages, 'Karuppampatti' promises a good and family-friendly time for the viewers. But is it really good as a film ?
This is Ajmal's first film as an out-and-out hero or as the protagonist. It is quite evident that he has performed sincerely, though his reactions do tend to go overboard at times. Probably, more experience could have helped him to be more composed. But kudos to him for attempting to play two diametrically different roles and has worked well, in displaying the difference between both the roles, which are set in different eras. Ajmal shows some promise and with more films, he can scale the heights of stardom. Aparna Bajpai would have probably bagged this role, thanks to her role in 'Eesan' which she did long time back. She too has the opportunity to perform in two roles but sadly, her roles were not sketched out properly, nor do they have any significant importance to the film. Her sweet smile and pleasant appearance, is a plus for her, though. M.S Bhaskar handles the comedy portions of the first half, and he was good with his dialogue delivery and modulation. Meanwhile, its Jagan and Srinath, who takes care of the humor quotient in the second half. Jagan, was pretty good, particularly with his dialogue delivery and expressions, whereas Srinath was too loud and irritating. A big troupe of supporting artistes are there, such as Devadarshini, Chetan, Ganesh, Alex, Mahadevan, R.S.G Chelladurai, Balasubramaniam, Prem and etc, and many of them have left their mark, wherever they could.
The technical output of the film was not bad, surprisingly. Vasugi Bhaskar has done a good job, on a low budget, especially when it comes to the fashion styles of the 70's and the current generation. But more work could have done to make the characters of the village folks of the 70's to look more authentic and believable. Abdul Razak's make-up sufficed the needs of the artistes. 'Rock' Prabhu's stunt was simple and cleanly executed by Ajmal. Production designers, Vengal Ravi and Veeramani should be lauded for their simple, yet efficient art direction. The props and background were convincingly done to represent the specific eras portrayed in the film. The interiors and props for the 70's era, was the highlight, together with the sets for the songs. B.Lenin's editing was just perfect for the film, without making it too draggy. Santhosh Sriram and Sanjeevi Sathyaseelan, handled the cinematography department very well. The camera movements and framing were perfect, as well as the clarity in their works, especially for the village portions.
Kannan's tunes for the film was average and not really hum-worthy. "Kannamma" is the first song, which is a bit song, picturized on village girls, celebrating the festival, by playfully pouring turmeric-contained water on men. It has good camera movements and nice black-and-white tone to it. "Oh Indira" has Telugu actress Archana doing a dance jig with Ajmal, in a simple, yet flashy club set. The lighting was particularly bright, which captured the essence and mood of the song quite well. "Naughty Raja" had very bright and colorful lighting in the set work, which resembled the 70's hippie disco backdrop. The editing for the song was neatly done, so that it resembles similar type of songs, picturized in those days. "Karuppampatti" is a typical village song, with the Pongal celebration as the backdrop. It had plenty of dancers and the colorful festivity mood, in the air, especially with the big number of sugar canes used for the song. "Adaleru Kaalai" is another celebratory village song, this time glorifying the victorious state of the protagonist in a bull-fight. It too has similar colorful ambiance and plenty of dancers, with plantation fields, serving as the backdrop. The background score was just normal, and there's nothing much to discuss about it.
Tha. Prabhu Raja Cholan, must be credited for earnestly trying to be as original as he could, wherever the script necessitates. For example, the liberal use of French during the Paris portions, the non-stereotyping of villagers as the supreme good human and the usage of black-and-white tone for the flashback sequences. The detailing is evident, but it is not enough, in terms of his script writing. We are not given enough justification or rationale explanations on why the senior Ajmal was averse to his fellow villagers, though he is one among them. Some characters just vanish without leaving any mark on the screenplay and the the junior Ajmal's comfortable assimilation into the supposedly, "alien" village, is too good to be true. And the integration of all the characters into the village once again, was just too simple. All these only showcase the lazy writing of the director. Its puzzling to note how the director can leave out a simply detail in the dialogues portion, especially for the younger Ajmal, who seems to be uttering more English, instead of French ! He grew up in Paris, didn't he ? The director has set his sight in capturing the family audience's attention, but the script lacks the zing and the intensity of the emotional quotient, needed for such family dramas. Perhaps, Tha. Prabhu Raja Cholan would have intended for a light-hearted, simple film yet, it fails to fully engage us.
'Karuppampatti' is watchable in bits and pieces. A more deft, script-writing could have helped the film, to achieve its actual intention.
Ratings: 2/5 STARS
BY:TAMIL
Karunas is a good comedian, provided that he is given a good scope and character to perform. His tryst as lead actor in films such as 'Dindigul Sarathy', 'Ambasamudram Ambani', might have produced mixed results, but it has not stopped him from doing further lead roles. 'Chandamama' is one such venture, and here, he plays the role of a untalented novelist-wannabe.
The cast comprised mostly of experienced artistes, so it was just a walk-in-the-park for most of them. Karunas, was in his elements doing comedy scenes, but also gets to try out more emotional sequences as well and is passable overall. Shwetha Basu has potential to be a good artiste, if she tutelage under a good director. Harish Kalyan, though was very poor in all aspects ! R.Sundarrajan, M.S Bhaskar, Ilavarasu, Sujatha, G.M Kumar, Madan Bob, Mohan Ram, Kottachi, 'Crane' Manohar and etc all were decent enough for their roles.
'Mafia' Sasi and 'Fire' Karthik were credited for stunt practices, but what was their exact contribution, is a mystery. Mani Suchitra's art work was simple and apt for the low budget of the film. G.Murali's editing should be noted for keeping the length of the film from being over-stretched. Anandha Kuttan's cinematography was sufficient enough. Nothing more to discuss about the camera work. Srikanth Deva's score was pretty bad. "Koyambedu Silk" is a regular dance number, which was shot in a market setting and had Raghasiya as the item girl. Kudos to Karunas, for attempting to dance well. "Yaarodi" is a melody, which was shot on the lead pair in villages, lakes, paddy fields and dams. "Kandene" is a bit song, which comes in as a situational song, which was shot on Harish, recording it in Srikanth Deva's studio. "Narayana" is a dance number, which was shot on Sridhar and also a few montage sequences were inserted, into the video clip. Srikanth Deva's background score was worse, as he fails to balance the synchronization between humor and emotional scenes. The movie, almost had a complete melodramatic score, throughout !
R.Radhakrishnan's script, was a very poorly written one, which is not in tune with current circumstances. Songs are simply thrown in for the sake of having them. Dialogues by P.S Ramnath were just adequate. The screenplay was too boring, which makes us to lose interest in watching the artistes perform. Its still a puzzle, if the director wanted to come out with a comedy film or a melodramatic, one. But whatever it is, he fails miserably in both genres, if you go according to the scenes.
'Chandamama' - might have been bearable for the audiences of smaller towns and villages of a couple of decades ago !
Ratings: 1/5 STARS
BY:TAMIL
Director Perarasu, or comically called as 'Oorarasu' for titling his movies based on names of towns and cities, is back with a film which has been long in the making. After his back to back successes with 'Thirupachi' and 'Sivakasi', none of Perarasu's following films made bucks at the box office. Yet, it still amazes to see him churning out movies, and that too without deviating from his usual formulas ! Here, he teams up with Bharath, who himself badly in need of a hit film, in order to survive in Tamizh cinema.
Bharath, appears as a gym instructor in this film, and does what was required by the director. He aptly mouthed all the 'punch' and fiery dialogues written by the director. In order to to be realistic, he has buffed up his physique a little. He dances, fights, emotes and 'wins' the approval of the audience An archetypal 'commercial cinema hero' ! Sunaina looks okay but she stutters a little with her dialogue delivery, which looks out of sync with the dubbed voice. Rajkiran as an ex-military, was at his usual self. Pandiarajan, Ashish Vidyarthi, M.S Bhaskar, Chitti Babu, Appukutty, Kottachi and etc all were just there for apparently no reasons, except for Ashish who is the antagonist of the film. Its bewildering for us to watch him essaying the same role again and again and again, and yet he still continues to do the beaten-to-death roles without any remorse !
A.Seenu, the costumer of the film did not do his homework well, because the lead pair were dressed in designer clothes, though they were portrayed as ones from the middle-class segment. 'Theepori' Nithya's action choreography was awful G.K's art work, Jaysankar's editing and Bala's cinematography were all pedestrian. Perarasu decides to take the mantle of music director as well and churns out unnecessarily 7 songs in the film and none of them were interesting ! "Vaana Vedikkai" is a typical Perarasu's hero-intro song, with plenty of dancers and shot around packed streets. "Nee Enakku" was shot in European cities against established landmarks. "Yemma Yemma" was shot in a village-festival environment, with minimal set-work "Saamikku" and 'Evano Oruvan" were situational numbers, one of a sad situation and the other of an uprising situation. "Adi Vaanavil" a melodious number is also shot on European cities and finally "Vannarapettai" was shot in Binny Mills which resembles like a garage set work and also around some mining areas.
Perarasu's script is poor in quality and taste, very old-fashioned, formulaic, bland and ridiculous. Perarasu sticks to his pattern of screenplay and sketches compilation of scenes containing plethora of emotions. This film makes us skeptical of Perarasu's knowledge of contemporary films, and the latest trends of Tamizh cinema. Is he still trapped in some 'inescapable' time warp ? The tidbits appearing in the film, reminding us of Vijay and Ajith's films with Perarasu gives credence to that doubt.
'Thiruthani' - a shame for the actual Thiruthanigan !!
Ratings: 1/5 STARS
BY:TAMIL
