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

YAAMIRUKKA BAYAMEY MOVIE REVIEW

RS Infotainments' Elred Kumar's next production, 'Yaamirukka Bayamey' is a medium-budget venture with lesser known stars. Directed by debutante Deekay, a former associate of K.V Anand, this flick is touted to be a horror comedy, which is a genre rarely exploited in Tamizh cinema. We have our fair share of comedies and horror films, but this hybrid genre, is a rarity. Is this flick, worth of our time and money ?

Actor Kreshna, makes use of his opportunity, well. The expressive demeanor of his character was brought out well by him and he shares good rapport with the other cast members. He might need to work out in bettering his screen presence, as well as his dialogue delivery and voice modulation, which could have given his character, a better dimension. Rupa Manjari, looks cute and performs adequately and makes a good pairing with Kreshna. Karunakaran, is the actual scene-stealer, who keeps us glued to the film. His presence and comic timing, with apt dialogue delivery, evoke the chuckles from us. To put it bluntly, the film would have lost its appeal, if its not for his presence. Oviya, has upped the ante in glamour appeal, and shows no inhibitions in looking sexy. But her character has the lesser amount of screen timing and importance, among the main leads. Mayilsamy, scores in his portion with his usual excellent comic timing. Aadhav Kannadhasan makes a cameo appearance whereas, Anaswara Kumar has a role of importance, with limited screen timing. The rest such as Nalinikanth, Bose Venkat, Namo Narayana, Sona, Devipriya, 'Mahanadhi' Shankar, Balaji Mohan, Rayil Ravi, Yogi Babu, Daniel and etc sufficed the needs of the script.

The film has good production values, which gives the film an appealing look and feel. VFX for the horror segments were handled by Lorven Studios, and they have done a pretty decent job, especially in the climax, involving the main lead characters. Veena Shankaralingam designs the costumes for the lead characters, and the heroines have been particularly given lots of focus, with their dressing. Lalitha Rajamanickam's special make-up, complements the VFX usage of the film. Action choreography has been handled by Dhilip Subbarayan and his works are functional, as there are not important action sequences in the script. Art designing is handled by Senthil Raghavan, and his work gives the film a very alluring look. The mansion setup and its rooms were well designed, which has an elegant yet spooky feel to it, especially when you have dark colors, taking centre-stage. Sreekar Prasad's tight editing ensures that the film is well packaged, and his work in the climax portion, delivers the right output needed to ensure the scary element, is rightly presented. Cinematography by Rammy, is cool and appealing, especially with the cool climate of Nainital well utilized, in terms of lighting. His work is of paramount importance, especially in the climax portions, and his camera movements, delivers the necessary effect. 

Music by S.N Prasad is passable, especially with the songs. "Yemathukaaran" is the opening song and has all four main leads in the picturization. Nainital's hill tops and the other locations are the main premises, as well as the all important, mansion. "Adaikalam" is the introductory song of Mayilsamy, and has a simple and colorful setup by Senthil Raghavan, with Mayilsamy being accompanied by attractive lasses. The satire on fake faith healers is obvious in the song, which is more of like a bit-song. "Vellai Pandhu" is the pick of the lot and was picturized on Aadhav Kannadhasan and Anaswara Kumar, who looked pretty in her yellow saree. The romantic song has good color tone and camera movements, which complemented the romantic feel of 'under-the-moonlight' feel, as well as some picturesque snow capped mountains and beautiful lakes of Nainital. "Ennamo Edho" appears when the end-credits roll. The background score was quite average and passes muster. A better re-recording would have done wonders to the film.

Debutante Deekay, has experimented with the horror comedy genre, as mentioned earlier. He divided those two quotients evenly, with the first half having more funny moments, whereas all the thrills and spooks come blaring in the second half. The horror element was better handled, and though the spook gags were just the conventional effects which one often come across in Hollywood films, it did deliver the right effects. Deekay preserved the suspense element, till the late second half, which keeps us guessing on the suspicious circumstances unfolding in the film. The script has a wafer-thin story line, and though the horror element was well presented, the writing aspect takes a backseat, with no thorough explanation nor story which would have kept us engrossed with the film. The script leaves us with a couple of unanswered questions being overlooked, which open up loopholes in the story-line. The comedy element too, did not work out as a rip-roaring episode, neither. Couple of jokes fell flat, whereas some just did not deliver the necessary goods. As mentioned earlier, without the presence of Karunakaran, it would have been a damp squib. Also, some gags tend to side a more adult content, in its writing and presentation. The basic plot and idea of the script, is lifted from the 1998 South Korean horror comedy, 'The Quiet Family', directed by Kim Ji-woon, which Deekay has apparently simplified and made it more suitable for Tamizh sensibilities.

'Yaamirukke Bayamey' - A little funny, a little creepy !


Ratings: 2.5/5 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

PANNAIYARUM PADMINIYUM MOVIE REVIEW

Vijay Sethupathi is back immediately after his 'Rummy' with 'Pannaiyarum Padminiyum', the debut venture of S.U Arun Kumar of 'Naalaiya Iyakkunar' fame. Made as a YouTube short film originally, the debutante director has developed it into a full-length feature film, which narrates man's affection with his first vehicle. The short film gained lots of recognition, but can S.U Arun Kumar replicate the same success on a bigger scale, with the same material ?

Vijay Sethupathi, naturally blends into the script and has delivered an earnest performance. He definitely reminds us of 'Super Star' Rajinikanth's image in the 80's period. Vijay makes use of the right scenes, which he can score and score, he did ! He's just too comfortable as Murugesan, the lovable driver chap. Also, he shares a fantastic chemistry with Jayaprakash, which is evident in some of the second half sequences. Iyshwarya Rajesh pairs up with Vijay Sethupathi once again, and if she goes on to choose the right scripts, she's definitely a talent to watch out for. Iyshwarya is breathe of fresh air indeed, among the glut of nonnative actresses. Balasaravanan rocks as Peedai, and he seems to be a natural talent in comedy. His timing and expressions are just perfect enough for the scenes, and he does not over-do his lines, even by an iota ! The next big thing comedy artiste ? Hope so ! The film definitely belongs to the lovely senior pair of Jayaprakash and veteran Thulasi. The cute relationship of an old couple, was so beautifully enacted by both artistes, its definitely not an exaggeration to say that, they must have lived their roles ! Portrayal of mature romance is too few in Tamizh cinema, but this undoubtedly stays as one of the best, so far. Neelima Rani, Mahadevan and etc make up the rest of the cast with decent cameos by 'Attakathi' Dinesh and Sneha.

Moithen handles the costume designing and he has done a nice work, especially with the main lead characters, who resembled their social status and demographic class. Also, it has to pertain to the era of the early 90's, which Moithen did not fail to realize. C.S Balachandar's production design was very apt for the script, because of the nativity the script demanded. The props of a rural village head's home, were the highlights which shows the good background work done by the art director, in correlation with the late 80's and early 90's era. Sreekar Prasad, scores brownie points for his editing pattern, which holds our attention of the characters. But the editor should have dealt with the unnecessarily over-stretched running time, which further slows down the already, slow pace of the screenplay. For a multiple National Award winning editor, his vast experience could have come in handy. Debutante cinematographer Gokul Benoy makes a very promising entry with 'Pannaiyarum Padminiyum'. The way he presented the lovely Fiat Premier Padmini, as a character itself, speaks volume of his talent. Also, the interior shots and the meticulously handled, lighting and top-angle shots used for those shots, were just class ! 

Music is handled by another debutante, a very young Justin Prabhakaran. His compositions are full of melodies, and he definitely has a good future in Tamizh cinema ! "Enga Ooru Vandi" was sung by kids and has plenty of montages and has the Padmini as the main protagonist and her relationship with the villagers. Gokul Benoy's lens captures the barren landscape, very beautifully. "Pesuren Pesuren" is one of the most well conceived song picturization in recent times. It was shot on Vijay Sethupathi and Iyshwarya, with a funeral backdrop. The setting is of somber mood, we can feel the joy and love of Vijay Sethupathi, captured well by Gokul with plenty of close-ups. "Kadhal Vandhucho" is another song shot on this young pair and has a few montages, with good camera movements. The pick of the lot is definitely, "Unakaaga Poranthene" shot on Jayaprakash and Thulasi. The lovely song had even lovelier montages showing the beautiful relationship between the senior couple. Most of the shots were taken indoors, yet Gokul's camera work does not evoke any repetition. A similar track, "Enakaaga Poranthiye" features as a bit song and was shot on Vijay Sethupathi and Iyshwarya. "Aaraaro" is a pathos song, which highlights the separation of the vehicle from the family. Though Justin did a great work with the songs, he could still improve with the background score. Though melodious, some portions could have had a more mellow touch to it. He's obviously inspired by Raja sir, and he sure can learn a lot from the maestro's rerecording as well.

It is good to see that a young chap such as S.U Arun Kumar has the ability to handle the subject of a mature couple's love for each other, in a splendid manner. Also, he must be appreciated for scripting a subject which has no antagonist or any characters with negative shadows. S.U Arun Kumar handles the intricacies of relationship very well and he definitely extracts the best from his artistes, with his clear vision. The humor quotient is not forced and grows organically, along with the screenplay. Besides that, its nice to see that S.U Arun Kumar is a lover of old-fashion, which has its own poetic charm and essence, which was evident in the way he staged some sequences. But the film is not without its pitfalls. The depth of the film's script, is definitely very shallow and it is an arduous task to turn a 10-minute video into a full-length feature film. Added to that, the film has a slow narration and though it works well for the script, it might bore some audiences, who are lovers of fast screenplay. Also, S.U Arun Kumar could have avoided inserting unnecessary melodramatic and sentimental scenes, which looks forced and acts as mere speed-breakers. A more concise screenplay, would have done more good than harm to the film. But despite all these minor drawbacks, 'Pannaiyarum Padminiyum' is a welcome relief for us and has a feel-good, lovey-dovey element throughout the film.

'Pannaiyarum Padminiyum' - Charmingly and sweetly, old-fashioned.


Ratings: 3/5 STARS

BY:TAMIL

IVAN VERE MAATHIRI MOVIE REVIEW

A unique set of second timers, coming together after a successful first film is what 'Ivan Vera Maathiri' is all about. M.Saravanan, after the critically-acclaimed 'Engeyum Eppothum' and Vikram Prabhu, after the blockbuster hit of 'Kumki' are joining hands for the first time. Produced jointly by N.Lingusamy owned Thirrupathi Brothers and UTV Motion Pictures, the genre is new for both the director and hero. How do they measure up in their second venture ?

Vikram Prabhu has a good changeover from 'Kumki' to this city-slicker protagonist in 'Ivan Vere Maathiri'. He proves his mettle in enacting the silent, low-key characters and is expressive when it comes to emoting and uses his eyes very well, which is an asset of his. He shows his flexibility in performing action-oriented roles, with this film and maintains a great deal of energy in those heavy, action sequences. But he definitely has to improve the romance segments, in which he reflects stiffness throughout. Good showing ! Newcomer Surabhi, performs well in her debut and fits the role to a T. Her lip-sync is very good, which earns her extra brownie points. But the real revelation in this film is the antagonist, played by Vamsi Krishna. He proves his adeptness in performing such a menacing role, and displays intense portrayal in tied-up sequences, were very well done by him. Also, he's equally as good as an action hero, when it comes to the action sequences. Great going, Vamsi ! The rest of the cast such as Hariraj, Sharmini, Malavika Menon and a cameo by Ganesh Venkatraman, were adequate in their minuscule roles.

The film would not have been as good as it tries to be, without the inputs of action choreographer, Rajasekhar. The action sequences are raw, gritty and power-packed and his assistants should be commended for the daring drop stunts, falling from dizzying heights. This film should stand as one of Rajasekhar's best works, till date. R.K Vijay Murugan's production design was good and sufficed the needs of the scripts. The props for all those outdoor locations, such as construction sites, were well set up. Veteran Sreekar Prasad proves his experience, with the exciting editing of the last 15 minutes, leading to the climax. But, the film's duration is just too long, and a healthy dose of snipping would have done wonders to the film. Tied-up by the director's script, perhaps ? Cinematographer Shakthi, captures some thrilling moments in the action sequences, with his top-angles, complementing the stunt choreography. His camera movements in the construction site sequences, are noteworthy. The color tone of the film, also brings out the right effect, desired. Good job !

C.Sathya works well with M.Saravanan but this time, the songs were pretty average. "Ithuthaan" is the opening song, used as a bit song for a riot situation, happening in a college. "Ranga Ranga" has montages of the heroine, going after the hero and her attempts going vain. Most of the shots were taken in busy streets and in real locations. "Ennai Marandhai" is a love song, reflecting the falling-in-love, from the heroine's perspective. It had plenty of montages featuring the lead pair. "Malaya Porattala" is the typical heroism-themed song, shot on Vikram Prabhu and featuring a couple of dance sequences, interspersing with some montages. "Loveulla" is a fully choreographed song, showcasing the lead pair, reciprocating love for the first time and was shot in and around shopping malls and street-sides. "Thanimayile" is a bit song, featuring in the built-up towards climax. C.Sathya makes up for the average scores, by producing a good background score, which highlights the action sequences and elevates the exciting element of the script.

M.Saravanan, has written a straight-forward script, with no tricks up in his sleeves, in regards to his screenplay. He has incorporated some interesting elements, which builds up the suspense factor, which makes us engaged with the proceedings of the script. The screenplay should have been worked out, since the film drags heavily in the second half. A big contributory factor, is the rather amateurish love sequences, which does not really convince you. M.Saravanan, could have wanted to project the naivety and silliness of the heroine's character, but those scenes simply stretch the length of the film, for no apparent reason. Nonetheless, he should be credited for sketching a convincing pair of protagonist-antagonist. The characters play a motion of tit for tat, which is pretty exciting to watch to. M.Saravanan has a knack for writing smart dialogues, and in this film, Ganesh Venkatraman takes the cake for the best dialogues. The director does have a good sense of script writing and a planned structure for his screenplay. The only thing he needs to loon into, is the prioritization of the elements of his script. 

'Ivan Vere Maathiri' - A good watch for those who prefer action entertainers.


Ratings: 3/5 STARS

BY:TAMIL

ARRAMBAM MOVIE REVIEW

After the colossal flop of 'Billa 2', Ajith Kumar aka "Thala" is back once again, and this time in a true multi-starrer, with Vishnuvardhan at the helm. The stylish 'Billa' remake still linger in the minds of movie buffs, and its a tricky tight-rope for this combo, as they have to ensure the hype is met and at the same time re-launch the career of hit-maker A.M Rathnam as a producer in Tamizh cinema once again. Backed by good technicians and a solid cast, what does 'Arrambam' has for us ?

For "Thala" Ajith Kumar, this is a piece-of-cake sort of role, and he waltzes through it with style and elan. His impeccable timing in dialogue delivery, broods excitement and adds more classy touches to his performance. His look is an added element, which further elevates his stylish avatar as AK. The man, pulled off all the stunt sequences by himself, in a very professional manner and deserves a big round of applause for taking the risk. There are plenty of shots, which highlights the stylish element of Ajith's and it is a treat for his die-hard fans. Though the grey-shaded role is repetitive, no one actually bothers about it, as Ajith is enjoyable in such roles. Arya is lively with his comic timing and his antics and a little surprise is there in store, in regards to his appearance. Though his role pales in terms of screen appearance, he still makes his mark. Nayanthara is the stylish diva here and she pulls of some action sequences effervescently, and also manages to oomph the glamour quotient, nonchalantly. Taapsee Pannu was cute as the naive amateur journalist, though her character has not much relevance to the script. Kishore rocks as the tough cop, while Mahesh Manjrekar is a good addition to Tamizh cinema. Atul Kulkarni, Suman Ranganathan, Akshara Gowda, Naren, Murali Sharma, Krishna and etc had stylish rendering in their characterizations. Not to forget, Rana Daggubati made his official entry to Tamizh cinema with a solid cameo appearances.

Action choreography is a real highlight of the film, and there were plenty of them, induced into the screenplay. 'Billa' Jagan, Lee Whittaker and Kecha Khampakdee of the 'Jaika Stunt' team, rocked in the action choreography. The bomb-threat encounter scenes were very professionally choreographed and executed by the team. And the shoot-out sequence shot in a warehouse, was very well planned as well. Anu Vardhan and Pinida P.Shamdasani's costume designing was fantastic and all characters looked brilliant in the stylish costumes, especially Ajith Kumar, Nayanthara and Taapsee. Production design by Lalgudi N.Ilayaraja blends well with the script's needs and was very realistic. The interiors of apartments and buildings were very well detailed and each props complements the mood and plot setting of the script. Multiple National Award-winning editor, the veteran Sreekar Prasad's editing is taut and he manages to tighten the grip on the screenplay, by ensuring there's no over-stretched sequences. The story moves fast and kudos to the veteran for a neat work. Cinematography is big highlight of the film, done by Om Prakash with some few sequences canned by P.S Vinod. The camerawork is stylish and the aqua-green color tone, complements the mood of the script. There were plenty of hand-held shots and appropriate usages of steady-cams. The Dubai sequences were very stylishly done, but the real highlight is the bomb-threat action sequence, which was brilliantly shot and edited. 

Yuvan Shankar Raja always had a great combination with Vishnuvardhan and they have churned out chart-busters  But 'Arrambam' is a disappointment, because the tunes were repetitive and not enthusiastic enough, to further spur the energy of the script and cast. The opening song "Adada Aarambame" was shot on Ajith, accompanied by dancers, and the heavy Maharashtrian percussion instruments. The fort in Maheshwar was the backdrop, and the bright daylight adds more gloss to the song. "En Fuse Poche" was shot on Arya and Taapsee and had some cute montages, with colorful ambiance  The simple special effects complemented the mood of the song. "Melaala Vedikkuthu" was shot on Ajith, Nayanthara and Rana with splashes and splashes of Rangoli Colors, which was a visual treat in terms of color palette. "Stylish Tamizhachi" was Akshara's introduction song and featured her in a glam-doll role and was shot in a clubbing arena. Yuvan's background score is a letdown and it does not capture our attention. Not the best of works from Yuvan and Vishnu combo.

Vishnuvardhan, known for his stylish, visualistic story-telling, engrosses us most of the time in the screenplay, which was co-written by the 'Subha' duo, D.Suresh and A.N Balakrishnan. The sequences were well etched and executed and some of them very well exploited the stylish mannerisms of Ajith Kumar. Nonetheless, there were a few drag moments, especially in the second half, which could have been avoided. This is due to the very cliched flashback sequences and some sentimental and emotional ones, as well. The letdown in their script, is the predictable nature of the story-line, which kills of the excitement factor. And for ardent movie buffs, they would have spotted that the entire script is a clever adaptation of the 2001 Hollywood action-thriller 'Swordfish' starring John Travolta, Hugh Jackman, Halle Berry and Don Cheadle. Vishnu and 'Subha' duo have taken the basic plot of 'Swordfish' and adapted it with some real-life Indian scandals. There are plenty of loopholes and logical gaps in the script and screenplay, which are to be ignored if one wants to enjoy this film thoroughly. The 'Subha' duo have written some killer, punch-dialogues in the film, which will definitely be well received by the fans. Vishnuvardhan has a neat directorial touch and has good grip of his script and end-product, but still 'Arrambam' is not as gripping as his 'Pattiyal'.

"Lets make it simple" - 'Arrambam' is a Vishnuvardhan, 'masala' entertainer. Enjoyable and neat. Nothing more, nothing less.


Ratings: 3/5 STARS

BY:TAMIL

THANGA MEENKAL MOVIE REVIEW

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

BY:TAMIL

KADAL MOVIE REVIEW

After a very long gap of 11 years, the master story teller and an auteur among the contemporary Tamizh cinema directors, Mani Ratnam has delivered a straight Tamizh film, with no whatsoever simultaneous, side-by-side Hindi production. 'Kadal' was one of the most eagerly expected projects in Tamizh cinema, due to brand 'Mani Ratnam' and also of the excellent cast and technical crew working behind the film, including Mani's personal favorites such as Sreekar Prasad, Rajiv Menon and A.R Rahman. So what's the impact of the 'Kadal's waves on us ?

Starting off with the lead pair of the film, debutantes Gautham Karthik and Thulasi Nair were very much natural and perfect. It is something truly unbelievable that Gautham's father, Karthik and Thulasi's mother, Radha made their debuts together in Bharathiraja's 'Alaigal Oivadhillai' 32 years back, and now their offspring are making their respective debuts under Mani Ratnam, and that too in a coastal based film ! Gautham was truly remarkable in his performance and it is hard to believe that this is his first film ! Apart from possessing good dancing and action-based skills, Gautham, scores big in the emotional quotient as well and has performed very maturely. This chap definitely has a big and promising career in Tamizh cinema. Thulasi was lively and chirpy and has good dialogue delivery sense. More coaching can do wonders for her career, as well. The other lead 'pair', the two veteran Arjun and Arvind Swamy were impeccable in their roles. For a change, Arjun dons a character of truly black shades and pulls it off with ease. Its pretty evident that he enjoyed doing the role, and 'Kadal' will definitely be an important film in his entire career. Way to go, 'Action King' ! And what a comeback from Arvind Swamy. His charming and sincere performance is the actual scene stealer. With a variety of emotions on display, Arvind Swamy proves why he is an all-time favorite of Mani. 'Kadal' surely belongs to these two, gentlemen ! Lakshmi Manchu plays a small role, and though it was a good performance, her presence was wasted. The film has a big star cast such as Ponvannan, Somasundaram, Singampuli and etc doing small roles, and all of them were natural and authentic for their roles.

When it comes to a Mani Ratnam film, technical aspects have always been top-notch and it follows with 'Kadal' as well. Eka Lakhani and Sai's costume designing was perfect and kudos to them for the well-done research on the background of the fisher folks from a particular dialect-speaking region. Everyone looked their part and credits must definitely go to Eka and Sai. Tapas Nayak's sound designing deserves appreciation, especially for the stunt scenes and sequences involving the sea side area. Action choreography by Kanal Kannan and Kecha Khamphakdee of the Jaika Stunt from Thailand, was well choreographed.The fish market fight sequence and the climax fight sequence on the storm-hit boat are the main highlights. Shashidhar Adapa, who works for Mani for the very first time, has done a brilliant job with the set work. The dilapidated church, the fish market and the boat set which appears in the climax, were too good to be true. Truly brilliant ! Sreekar Prasad's editing was flawless as usual, and as a veteran of Mani's camp, his work complements the narrative setting of Mani Ratnam. Rajiv always reserves his best for Mani and in 'Kadal' some of the shots were just too beautiful and magical. The dark blue- storm skies, the dry and barren sandy seaside, the beautiful beach, everything was simply superb. Rajiv's specialty is his slow, poetic and soft cinematography with no tinges of glariness and blazing color tones and he applies the same to 'Kadal' as well. Exquisite work, indeed !

A.R Rahman is back after a three-year gap in Tamizh cinema (the last of his Tamizh score was for 'Endhiran'). The songs are typical Rahman, where one needs to spend time listening to them over-and-over again for liking it. "Chithirai Nila" is a slow, melody number which was used sparingly in the film, in accordance to situations, usually for some particular scenes. "Adiyae" is a refreshing song from Rahman which blends folk and jazz in a Christian gospel-type song. But the picturization was little awkward as it suddenly springs out like a dream song and the choreography by Brindha, reminds us of the evergreen "Nenjinile" song from 'Uyire'. Some might find it as weirdly picturized song, but it was definitely a different attempt. "Moongil Thottam" is a soothing , romantic number, picturized on the lead pair. The beautiful images of the crystal-clear sea, dark forest, pristine beach and etc complements the camera movement. A song on the ranks of "Pachai Nirame" in terms of visual ! "Elay Keechan" was shot in a lively manner, with full dance and vigor. The coastal areas and the fish market set was captured well by Rajiv, and the rain portion in the end, brings more charm to the song. "Nenjukkule" was shot in montage style amidst dialogue sequences between the Gautham and Thulasi. "Anbin Vaasale" appears during the end credits, with cuts between the sequences of the lead pair getting back together and Arvind Swamy being featured in a lively church procession. "Magudi Magudi" appears during the opening credits, and also in the middle of the film, with plenty of montage sequences being used. The background score was good but there are no standout pieces, as one can listen in previous collaborations of Mani and Rahman.

Mani Ratnam has joined hands with writer Jeyamohan and adapted his novel into a screenplay. The story, a major part of the screenplay and dialogues, all belongs to Jeyamohan. Mani handles only the direction department and made some contributions in the screenplay writing as well. Usually, we get to see characters of grey shades, which presents us different dimensions, in a Mani film. But in 'Kadal' Mani has split the white and black from the grey and gave it each to the two important artistes, Arvind Swamy and Arjun, respectively. The main focus of the film is the battle between "good and evil", which is between Arvind and Arjun here, but it gets to be played in the form of the protagonist Gautham. As the film moves on, the focus swings from the personal battle between the duo and of Gautham's travails and love-life. As the focus shifts back-and-forth, the length of the film gets a tad too long and the pace gets even more slower, especially in the second half. Also, the actual crux of the film is the personal duel between Arjun and Arvind Swamy, and sadly this angle was not exploited to good use. A few questions were left unanswered/unexplored, which should have been rectified.  The dialogues are steep in Christian vocabulary and one might find alienated if they are not accustomed to such terms or phrases and the dialect is an added challenge to us. There are lots of subtle but hidden themes/symbols sprinkled throughout the film, and only those who pays close attention, can identify them. Mani does not spoon-feed every single explanations on the "whats" and "whys" of the film, and only by good analytical skills, one can comprehend the true essence and meaning of some of the sequences and also to admire the directorial skills of Mani Ratnam.

'Kadal' might not be in the league of some of Mani's classic films but its still "A Mani Ratnam Film". One does not get to see regular mainstream cinema at its best, with high-quality, glossy outputs and fantastic execution of a script.


Ratings: 3.25/5 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

THUPPAAKKI MOVIE REVIEW

An eagerly awaited film, especially by the fans of 'Ilaiyathalapathy' Vijay, 'Thuppaakki' ticks all the boxes of a potential box-office hit must-haves. A big hero, a big director, a legendary cinematographer, decent music director, good action, drama, comedy, songs and etc. Every ingredient is there, so did 'Thuppaakki' fire on all cylinders ? Pretty much, yes !!

The film obviously belongs to the hero, Vijay. He oozes confidence and style throughout the film. He carries the film for most period of the screenplay duration. His experience in dancing and fighting skills are very well written and watched, so there's no need of more elaboration on it. Its the actual acting performance which must be scrutinized and Vijay comes out unscathed. There is nothing to complain about his performance. He had a field day throughout this project and it must have been a walk-in-the-park for him. His comfortableness with Hindi and English gives his character more realistic touch and ingenuity  Vidyut Jamwal, plays a perfect foil to Vijay's lead role and he was menacing in his role. Brooding, full of machismo and debonair looks, Vidyut underplayed his character, which elevates the intensity and tension of the battle between the protagonist and him. Kudos to him ! Kajal Aggarwal though has nothing to perform and was there just as an eye-candy during comedy and song sequences. Though Ragini Sri's dubbing matched the tomboyish character which Kajal Aggarwal played, sadly it did not fit for her image and looks awkward. Sathyan makes a commendable presence throughout the film, and he too underplayed his character, which was heartening. Jayaram, was a scream, especially in the coffee-house sequence, and was a pleasant comedy relief. The rest of cast such as Manobala, Zakir Hussain, Anupama Kumar, Deepthi Nambiar were adequate with Meenakshi and Akshara Gowda making cameo appearances. 

A.S Lakshmi Narayanan's sound recording was apt and neat, especially during the encounter sequences. Kamal Shahani and S.Rajendran's costume designing was simple yet stylish for Vijay and also pretty for Kajal. Sunil Babu's art designing was adequate and apt for the movie with minimal touches, especially for the song sequences and props for some sequences involving the antagonist, which made things look natural and realistic. Kecha Khamphakdee of the Jaika Stunt team, has choreographed some stunning action sequences, especially in the warehouse, during the kidnapping sequence though, the climax fight sequence could have been better. Sreekar Prasad's editing was a big boost for the film, because it kept the pace of the film from not slowing down and his fast-cuts for the action sequences were flawless. India's most popular and celebrated cinematographer Santosh Sivan delivers his flawless work as well and this time, his work is more gritty and captures the raw and urbanized mood of Mumbai very well. Die-hard fans of Santosh might be disappointed because of the lack of scenes, which has his trademark establishment-shots. Overall, it was a flawless work indeed from Santosh Sivan. The usage of ARRI camera lends more authenticity to the look and feel of the film and it must have been a proud issue for A.R Murugadoss to have his film as the first to bear Santosh Sivan's name with the honorary ASC-status. 

Harris Jeyaraj's numbers were hummable and listen-worthy, though nothing was excellent or extraordinary. The opening song "Kutti Puli Koottam" was a refreshing one, for a Vijay film. It has some of Santosh Sivan's trademark misty shots, captured in lush, green fields and at a riverbed, with military men having fun, fooling around and dancing with the protagonist. "Antartica" is a peppy song, shot within a stadium and gym complex surrounding, with the hero trying to woo the heroine, who is an active sportsperson. "Alaikka" is a typical dance number which captures Vijay's wonderful dancing skills. The lighting and set properties were grand, yet looked simple and perfect with gold-themed set work. The chart-buster song, "Google Google" was shot in a Bangkok club, with dazzling lighting and funky dance movements with Santosh Sivan and A.R Murugadoss making cameo appearances. "Vennilave" was shot in Geneva around snow-capped mountains and green fields. Interestingly this song was shot by Natraj, the popular Bollywood cinematographer and has his trademark Bollywood-style glossy cinematography. "Poi Varavaa" is the situational finale song, depicting the leaving of military men to their camps after their holidays, which was shot in the railway station, capturing the poignant moments of the military men and their family members. The theme track, "Jagdish on Mission" plays throughout the film, which sizzles during the crucial moments. Harris's background score was better compared to his recent releases and he has tried some unique scores, keeping the Mumbai milieu in mind. 

A.R Murugadoss, did what he can do best - to come up with a racy and taut screenplay, with some interesting action sequences. The highlight of it was the encounter scene of 12 sleeper cell members, which was brilliantly conceived and shot. The cat-and-mouse chase between the protagonist and antagonist, keeps the audiences hooked to the film. The film was packaged very well and works out big time due to the engrossing screenplay which has some sensibilities in it. Though the majority of the script was well conceived and executed, some minor blips are here and there, with plenty of questions going unanswered and the director taking some liberty by infusing typical commercial dramatic elements or sequences into the screenplay, adhering to elevate and propagate the mass image of lead hero Vijay. Additional brownie points to the director for some intelligent dialogues here and there and for not overdoing the commercial formula of Tamizh cinema. After an unfavoured reception for '7am Arivu', A.R Murugadoss has bounced back strongly, with a tautly written script, which is his specialty and reminds us of his previous works such as 'Dheena' and 'Ghajini', which were all good commercial films. 

'Thuppaakki' is a sure-shot winner for the makers and an engrossing entertainer for the audiences. Party time for Vijay and A.R Murugadoss !

Ratings: 3.5/5 STARS

BY:TAMIL