One of the eagerly anticipated films, 'Kanna Laddu Thinna Aasaiyaa' promised loads of fun and humorous moments with Santhanam and most importantly, 'Powerstar' Dr S.Srinivasan making his debut in a properly taken cinema, instead of the poorly executed low-budget films. Armed with nothing but good comedy writers and able technicians, this film is the maiden production venture of Santhanam, who has also roped in veteran Rama Narayanan to co-produce it. It is instead a major coup by Santhanam to rope in 'Powerstar' and certainly looks like a safe bet.
Santhanam, plunges into the lead role after a long time, and though it is his own production, it is commendable of him to give ample space and scope for his fellow 'musketeers' to perform and earn applause. Nevertheless, Santhanam still brings the roof down with his excellent punch lines and humorous antics and facial expressions. The comfort level of acting in his own production, enabled Santhanam to be at ease and he performs to his best. The sequence where he delivers his love letter to the heroine and the aftermath expressions are too hilarious and evokes rip-roaring laughter from the audiences ! However, it is 'Powerstar' Dr.S.Srinivasan, who steals the show with his unpretentious comedic acts. What works for the film is that, 'Powerstar' was allowed to do comedy and he allowed others to make fun of him, which makes the proceedings to have a spoof like-effect. Anyways, it was him who took the most cheers and screams from the fans !! Newcomer Sethu was not bad and debutante Vishakha Singh was expressive and passes the test. The Santhanam-'Powerstar' duo was ably assisted by the rest of the cast such as 'VTV' Ganesh, Kovai Sarala, Sivashankar Master , 'Pattimandram' Raja, Devadharshini and Vanitha Krishna Chandira. The cameo appearances of Gautham Vasudev Menon, Silambarasan, cinematographer Balasubramaniem, and stunt choreographer Silva, adds sheen to the film.
Though it was meant to be a moderately budgeted film, 'Kanna Laddu Thinna Aasaiyaa' carries notable production values. Karishma Shroff's costume designing was very apt and matched perfectly with the settings and characterizations of each artistes. A.Vanaraj's simple set-work for songs were well done and also for filling up the typical Kumbakonam house and other live locations, with appropriate props. Silva's stunt work was adequate and decent enough for a comedy caper like this film. G.Ramarao's editing was smooth and crisp. Balasubramaniem is a big strength to the film. His cinematography adds a glossy and rich look to the film. His lighting for the night scenes, along with good angle choices, adds to the cheerfulness element of the film. Good job, Balu !!
Thaman's music was foot-tapping and almost all songs were decently done. The opening "Aasaiye Alaipole" was shot in live locations with adequate props and good lighting work by cinematographer Balasubramaniem. Balu captured the Kumbakonam streets and township effectively, with his camera. "Ye Unnethaan" is a colorful song, with simple but decent set work by A.Vanaraj and again Balu's cinematography, gave the song a glossy look, especially with the lighting. The "Love Letter" song is a situational song, shot within a typical Kumbakonam mansion house and features Santhanam in his rip-roaring element, together with the heroine, Vishakha Singh. "Potti" song is another situational song, which was funny and kept short. The "Birthday" song was shot within temple locations with plenty of props, which matched the birthday celebration theme. The final "Duet Song" appears during the end credits, showcasing a wedding scenario, which again looked glossy thanks to Balu's lighting. Thaman's background score was adequate and carries his trademark synthesized, violin pieces.
K.S Manikandan's directorial debut makes no mistake in stamping its stance and promise of being a 'laughathon' and fun-filled ride. The writers of the film made no bones about it and delivered their promise to great extent. Though the film carries an uncanny resemblance to K.Bhagyaraj's classic 'Indru Poi Naalai Vaa', the film was made keeping today's youngsters and Santhanam and 'Powestar's presence was effectively used. The natural performances of the acting crew adds to the fun quotient of the film and there are plenty of rip-roaring sequences inserted throughout the duration of the film. Also, the excellently written punch dialogues uttered by Santhanam are a scream and the film is replete with them ! Story wise, there is nothing to expect, but no one really gives a damn about the story and tirelessly waits for the next bone-tickling sequence. The second half of the film hit a slow-pace mode but was compensated with the funny antics of the artistes.
'Kanna Laddu Thinna Aasaiye' delivered what it has promised and not more or less than what was intended to be. A thorough and jolly-good entertainer for the viewers !
Ratings: 2.5/5 STARS
BY:TAMIL
With a chaste Tamizh title to the film, Magilzh Thirumeni has changed tracks from the soft romantic, 'Mundhinam Parthene' to this action-packed thriller. The former assistant of Gautham Vasudev Menon has lots to prove with this new attempt on a different genre than his previous work. Arun Vijay is coming back to screens after a two-year absence, with his home production 'Maanja Velu'. This film is produced by the same firm as well and Arun Vijay needs a solid hit to cement himself as a saleable actor in Tamizh cinema.
Arun Vijay, has put in a sincere and honest effort in his role as the private vehicle driver Selva. His buff body was apt for this action packed role and he pulled off the stunts scenes effortlessly. His body language and restrained emotions was very life-like. Not to forget, a decent dialogue delivery, in sync with the characterization warrants him a good dosage of appreciation. Wishing him luck for serious success, which has been eluding him for a very long time. Mamta Mohandass makes a comeback after three years after 'Guru En Aalu'. This is her first Tamizh film post-marriage and she was the perfect foil for Arun Vijay's protagonist role. The chirpy and bubbly personality is a fresh breathe of air, in this otherwise dark film. Rakul Preet Singh, a former finalist of Miss India pageant makes her splash as an actress through this film, and though she was okay, her character was not properly exploited, hence limiting her histrionics skills. Murugadass and the other bunch of friends roles provides some laughter here and there. But the real scene stealers are the antagonists artistes, Maha Gandhi and Vamsi Krishna. Both of them were menacing and gritty with their performances with their brooding screen presence and non-exaggerated expressions. Kudos to both of them!
The team comprises of technicians who knows their work well and the film has some decent efforts. Costumes were apt and perfect for the roles, not being too flashy and tacky with Ganesh doing for Arun and Deepali Noor for both the ladies. Mohana Mahendiran used proper props to complement the scenes, which were shot mostly in real locations. Praveen K.L and Srikanth N.B's editing had fast-cuts and the movie moves in rapid pace with the duration slightly more than two hours. Thaman's music was simple with only two songs making it into the film. "Kelamale" was shot in a breezy manner with only a single location with various angles and simple choreography by Nagendra Prasad. "Poonthamalli" is a typical dance number and had fast movements by Noble with the addition of Debi Dutta as the 'item' girl. Thaman should improve more on his re-recording in order to avoid the 'heard-before' feel. 'Anal' Arasu has choreographed simple and neat action sequences and the blows delivered looked very real especially the back alley fight featuring Arun Vijay and Aruldass and also the climax fight scene in a factory warehouse. Sukumar's camera work was efficient with the well-shot night effect sequences, heavily used in the second half and the tone used which was apt for the script.
The script was concise and intelligently written, which is a welcome relief among the glut of nonsensical crass commercial flicks churned out these days. The intelligence does not stop only in the twists and turns but also continues in the form of light and subtle humor of the characters. The innocence of the protagonists friends, the quirkiness of the protagonist, the stubborn-yet naive heroine and even the antagonists had subtle humors to their characters which is a refreshing thing to watch. Magilzh has etched out each characters well and established them with correct dialogues and mannerisms which doesn't give them a caricature-kind of feel. The romance scenes between the lead pair is quirky, cheeky and mature and guess its the rubbing off of the charm of Magilzh's mentor. The best aspect of 'Thadaiyara Thakka's' script is the twists and turns which is shown in the second half especially. It keeps the audience guessing and waiting for 'the moment'. But the same factor is the minus point of the film as well. The amount of twists and turns are plenty and they are thrown to the audience at a rapid pace which actually makes the audience to be unsettled and confused. The second half takes a dip in pace but overall it was a decent effort of intelligent writing from the director.
'Thadaiyara Thakka' has a decent script, good action scenes, life-like characters and neat performances from the artistes. If the second half was polished with a neater screenplay, the movie would have been even better.
Ratings: 2.5/5 STARS
BY:TAMIL
Vimal and Santhanam who have recently enjoyed success in the form of Sundar.C's 'Kalakalappu' is back with their next offering as a pair in this film. 'Ishttam' is a remake of the moderate urban-hit Telegu film 'Yemaindi Ee Vela'. Debutant Prem Nizar takes his bow as a director and he is backed by the current hot-shot music director Thaman. Also its a project Vimal was looking forward to as it was supposedly be the film which will change his 'village' image.
Vimal, for the first time, has donned a urban boy role which was a good change over for him. But sadly that was the aspect which is the biggest sore point of the film. He did not fit the role at all. Being projected as one in a IT-based industry, certain mannerisms are expected and Vimal missed them. His English pronunciation was bad, making him totally unconvincing as a spoilt city-brat. Nisha Aggarwal, the younger sister of Kajal Aggarwal makes her debut here and she too disappoints with her performance. She is glamorous but her expressions were plastic-like and emotionless and her lip sync was out of out of place, as well. The lead pair had no chemistry between them and both were uncomfortable in pulling off intimate scenes convincingly. Santhanam, the current King of Comedy, tries to evoke some laughter but most of his one-liners were pretty average. Being repetitive in making crude jokes on women and beer, will not do any favor for him anymore. Anoop Kumar, Parvathi Nirban, Pragathi, Yuvarani and the others make up the cast and dished out what was expected from them.
Technical wise this film has average works. Sai Suresh kept the work simple but the continuity of the screenplay was a little wobbly. Mohanjee C.H makes his debut as an art director. His work is kept pretty much simple as well with ordinary daily-life settings used mainly. The interiors of the lead pair's house as well as the girls hostel room are the examples. Camera work was nothing to talk about except for Shekhar V.Joseph's foreign locales but that too is not an uncommon thing in Tamizh cinema these days. The only technician who shone was Thaman. His songs were peppy and had various styles. The pick of the lot are the "Dhinakku Dhina" and "Oru Megham" numbers. Both were shot in typical foreign locations amongst old buildings, snow-capped mountains, green hill-stations and city centers. "Yenmele Indru" was shot indoors involving intimate moments between the lead pair and finally "Aaruyire" was a typical pathos song shot in montage sequences.
The story is by Sampath Nandi and it revolves around the mentality of the current youngsters and how rash are their decision-making skills, especially when it comes to life partner. Dealing with the issue of pre-marital sex needs conviction and Prem Nizar loses out on that element. His screenplay was very average and it gets sentimental and preachy towards the end. The scene which was the turning point in the script was averagely executed, leaving no mark or effect on the audience.
'Ishttam' is a poorly done film, with weak script and poor screenplay which makes it a dull affair.
Ratings: 1.5/5 STARS
BY:TAMIL
"Kadhalil Sodhappuvadhu Eppadi", a 10-minutes short film made by Balaji Mohan was a huge hit on social networking sites once it went viral, has now been made into an 2-hour feature film by the same man. It brings back Siddarth into Tamizh cinema after his last release, the lame "180-Rules Kidaiyaathu". What made the short film go viral, was the relevant theme of love failures among college going youths but making it into a feature film is a different ball game and with the aid of Nirav Shah and Siddarth as producers, Balaji Mohan is sure one lucky, chap.
What makes the film appealing is the perfect, youthful casting. Siddarth as the college kid who always fumbles in love was very apt and thanks to his young looks and suitable pitiable face, was the perfect choice. Since he has experience in his side, he manipulates his emotions well and also his voice modulation, especially in scenes which he has to render his dialogues facing only the camera. Natural and flair, job well done by Siddarth. Amala Paul, was neat and decent and was very much natural as the middle class college kid. A big strength to her character is Deepa Venkat's dubbing as the voice of her character, which was near perfect. Added to that, her sweet looks complemented Parvathi, her character. Besides that all the additional characters were very much natural, from Suresh, Ravi Raghavendar, Sriranjani and etc. A special mention must be made of the actors playing friends of Siddarth, retained from the short-film. They were very good with their portrayal and do manage to bring down the roof with their antics. Especially the chubby guy. He was a scream with his comedy timing and dialogue delivery. Hope to see more of him.
Technically, the film carries good work by the crew. Ramya Ananthi's costumes were very lively and apt. Her costumes for both the lead pairs were colorful and complemented their good looks and it was pleasing to the eyes of the audiences. T.S Suresh's editing was neat and crisp keeping the duration of the film to just above 2 hours and A.R Mohan's art direction, especially the interiors of the lead characters' homes and campus classrooms were well done. But the biggest asset to the film is Nirav Shah's fresh cinematography. The angles, movements in song picturizations all were big boost to the film keeping the frames breezy and fresh, throughout.S.Thaman's music was in-tune with the mood of the film, being lighthearted and fun. "Parvathi Parvathi" and "Aanantha Jaladhosham" were well choreographed by Chinna Prakash and Gayathri Raguram, especially in the opening bits. Both songs were quirky and fun with pleasing cinematography. "Azhaipaaya Azhaipaaya" and "Thavarugal" were done in montages and followed the mood of the script. Well written by Madhan Karky.
Balaji Mohan's initial success with the short film was the quirky and fun manner in the way he handled the script, but he managed it very well in converting it into a feature film. He retained most of the scenes incorporated in the short film. Though it can be appealing to first time watchers, film buffs who are aware of the short film, may find it less interesting to see the same scenes once again, with the same camera angles, gimmicks and even the names of the characters as well! That could have been avoided. But that doesn't stop one from enjoying the film. Its a fresh take on the goof ups committed by youths in their love lives and Balaji's dialogues are additional strength to the film, especially when it comes to one-liners. His depiction of how men and women vary in particular situations were spot on, especially the coffee house scene, where the lead characters were shown thinking in diametrically opposite ways! Also it is nice to see a film without negative characters which is a rarity nowadays in Tamizh cinema. There is a subtle message woven into the script but Balaji takes his own sweet time to present it which can make certain audience anxious to see some serious story telling in the script. Not only the lead characters were contemporary in their approaches, but even the sub-characters, too were very urbane and cool, which helps the film from not being jolted unnecessarily.
"Kadhalil Sodhappuvadhu Eppadi" is a very aptly titled, well made time-pass film, keeping in mind the current issues involving youths in love, aided with well written script/dialogues and also some with decent technical output. Hope Balaji Mohan's work will be an inspiration for more small time short-film directors to come up with even better scripts and feature films.
Ratings: 3/5 STARS
BY:TAMIL
Mouna Guru, was a making progress silently with Arulnidhi as the protagonist. The "Vamsam" star was in need of a hit because of the poor outing of his previous commercial "Udhayan". Backed by his home production, this movie is directed by newcomer Santhakumar and has some good technicians behind the camera. As not much expectations were placed on this movie, the same factor has worked out for the success of it, by emerging as the dark horse/silent winner in the box office trade, thanks to the neat work done by the crew.
Arulnidhi shows potential once again here as his performance was quite good and his dialogue delivery was in sync with the character he portrayed. If he works out more on his expressions and body language, he has a very good future in Tamizh cinema. Heroine Iniya has nothing much to do here, other than be the love interest of the hero, but it's not the 'sake-of-having-one' kind of a role. All the other character artistes like Krishnamoorthy, Madhu, K.Balakrishnan, Sujatha and etc did their roles well but the real scene stealers were John Vijay as the corrupted police officer and Uma Riyaz Khan as a pregnant investigative officer. Both were fantastic with their subtle expressions and body language and this movie will stand as one of their best ever roles in their entire career. Mouna Guru is one of the rare films which has its entire cast dishing out decent and non-overboard acting.
The film has some decent technical works. Thaman's music is a plus for this film with "Yenna Idhu" and "Anamika" songs being the best of the lot. His background work is very much commendable and one of his better works and nearly as on par with his best "Eeram". The usage of silence in the climax scenes worked very well in enhancing the thrilling effect. Dhilip Subbarayan's stunts were very natural and minimally used, making it more realistic to watch. A.A Devaraj's production work and Mahesh Muthuswamy's camera work was very effective and well done. Raja Mohammed could have trimmed some portions of to speed up the screenplay, especially in the first half.
The real hero of this movie is the director Santhakumar. One of the best aspects of the film is the usage of characters. Nearly all characters had a role in moving the screenplay forward and even the antagonists were well used and not as just 'punching-bag' for the protagonist. In-fact there is not even a single scene showing heroism and each character has its own shades and color which makes it more believable. It is difficult in Tamizh cinema for directors to come up with decent enough thriller which can hold the attention of audiences till the very end, without compromising few factors. The events starts to unfold one by one and each scene were well executed with no nonsense approach. The unpredictable small twists and turns holds the interest of the audiences. Some might find the screenplay to be little slow in the first half, but it's just an minor issue.
Mouna Guru is a decently well made thriller which never fails to get the appreciation of viewers. Hoping to see more classy and better work from director Santhakumar.
Ratings: 3/5 STARS
BY:TAMIL
Silambarasan is back once again this year with the much talked about Osthe. The movie was much awaited by fans of commercial cinema since it is the remake of Salman Khan's huge hit "Dabangg" and also the return of director Dharani who has given smashing hits before with "Dhill", "Dhool" and "Gilli". Added to that, the songs of the film is a big hit and Richa Gangopadhyay is having her second release in Tamizh cinema within two weeks. Besides that, there is Santhanam who always keeps some of his best work for his 'mentor' Silambarasan. So did "Osthe" live up to "Dabangg"?
As the whole film depends on his character, Silambarasan has lived up to the role of 'Osthe' Velan and he oozes arrogance and style to give color to that character. As expected from a commercial cinema hero, he displays all emotions well and does comedy, utter punch dialogues, shows good flexibility in stunt sequences and not to forget, his whacky dance movements in song sequences. Besides that, he scores in scenes which needs heavy emotions and he played it very well with subtle body language and facial expressions. Silambarasan is making improvements from film-to-film. Some fans might not be able to accept Silambarasan in a larger-than-life role but he has enjoyed doing this role and it is evident in the film. Sonu Sood is an ample villain and he is dashing and brooding and gives good competition to Silambarasan, though he is far more taller and heavily built compared to the protagonist. Richa Gangopadhyay, who made a terrific debut in "Mayakkam Enna", is reduced to just songs and some glamorous shots which is normally expected of in a 'masala' movie, though Chinmayee's voice was suitable for her. "Jithan" Ramesh has found his proper second innings in Tamizh cinema with a neat portrayal. The rest of the supporting cast such as Revathy, Nasser, "Nizhalgal" Ravi, Saranya Mohan, "VTV" Ganesh, Azhagam Perumal, Vijayakumar and the "Osthe Velan" Force, comprising Mayilsamy, Vaiyapuri, Thambi Ramaiah were perfect and did their portions very well. One man who kept the audiences attention all the time was Santhanam. He was absolutely funny and humorous with his one-liners and great timing. The act he does in the "Neduvaali" song is the, pinnacle! Santhanam is on a high!!
The film has a decent technical department. Vidhyaa B.Reddy and S.Rajendran's costumes were apt for the roles and Richa's was particularly glamorous. Stunts were done decently in some portions, whereas in certain others, they were over the top. Since there are three directors associated with stunts, Kanal Kannan, Ram Laxman and Silva it is hard to distinguish who, did which. Kalyan and Robert delivered the necessary must-have's of Silambarasan's whacky and zany moves in song sequences. Maniraj's sets are very naturally built except for some sets which looks like 'newly' erected, especially with the heroine's house set. Though the artwork was neat, it is quite debatable to see how close the sets came in portraying the Thirunelveli district. S.Gopinath is class above the rest when it comes to commercial mass masala and his work elevates the mood of the film, especially the confrontation scenes and in the railway track sequences. Not to forget the pre-climax scenes. He is a big asset to Dharani. Veteran V.T Vijayan's work is clean and neat. The biggest strength of the film is the music by Thaman. All the songs are foot-tapping and entertaining, which is the ultimate need of mass movies. "Osthe Mamey" was typical of hero's introductory song and it was cool to see Dharani making a cameo as well. "Unnale Unnale" was done in a montage style with dance and sequences thrown in as well and the scenes in the temple were well shot. "Neduvaali" was done in a spacious set and was a complete entertainer with the dance sequences. "Pondatti" song was decent and cute and was mostly shot in Dubai and the opening few seconds in the early morning dew was pleasant to see in screen with the light purple tinge in the backdrop. The much talked about "Kalasala" was a letdown though. It had 2 big advantage in the form of rocking music with superb rendition by Vijaya.T.Rajender and LR.Eshwari and also the hot Mallika Sherawat as the item girl. Yet the song failed to live up to expectations, video clip wise and is not a match to the original "Munni Badnam" number in "Dabangg".
The strength of mass masala commercials is the screenplay and Dharani has a solid track record before this. "Osthe" too was well written and had fast screenplay, keeping the audiences attention and even when we were expecting a slight slump in the screenplay, either a song or Santhanam comes in handy to keep the audiences entertained. Dharani has very cleverly made the necessary changes to make the script apt and suitable for Tamizh audiences and having his assistant Bharathan as a the dialogue writer, he has added more plus points to the film. Bharathan's dialogues especially the one mouthed by Azhagam Perumal about politics/politicians were very well written.The film is strictly for those who like and do not mind watching mass masala commercial films and in addition, do not mind seeing Silambarasan in a larger-than-life type of role which usually fits the Fab 4 (Vijay, Vikram, Ajith & Suriya) of Tamizh cinema. If it wasn't for some over-the-top scenes, this film is a near-perfect mass masala commercial film.
Ratings: 3/5 STARS
BY:TAMIL
Jiiva, who is on a blazing track by signing back to back films in Tamizh cinema and that too with well established directors, has come out with another film after his last Rowthiram fizzled without earning much in the blockbuster trade. This time it's a collaboration with R.Kannan whose previous film Kanden Kadhalai, a remake of the super hit Hindi film "Jab We Met" was a hit. It's a original script from Kannan this time after his decent debut Jeyam Kondaan. The songs of this film created the necessary hype around this movie. Did Jiiva and R.Kannan score this time?
Jiiva has nothing much spectacular to perform in this movie. It must have been a cakewalk for him. Nandha as the calm underworld don is impresses and it's a welcome relief to see him not to over-play the character with loud shouting and screaming. Kudos to him for improving film-to-film. Taapsee has a better character compared to her debut and she has more dialogues to deliver and her expressions with her cute smile is a plus for her in addition to Chinmayee's dubbing for her voice. The supporting cast like Azhagam Perumal, Malavika, Rahman, Sapan Saran, John Vijay and Manobala didn't have much scope to perform and only appear for a couple of scenes. Santhanam is the real deliverer in the acting department with his top-notch comedy timing and dialogue delivery. His one-liners are fantastic as usual and the best scene of him is when he tries to mimic Nandha. Santhanam is having a great time in Tamizh cinema.
This film has the credits of acquiring some decent technicians. Priya Manikandan's costumes for the lead pair was very colourful and charming, especially in the "Anjana Anjana" number. V.T Vijayan's editing was apt for the film, though he could have altered some scenes. Rembon Balraj's set work was minimal and most of the locations were done in real places but the interior's of Nandha's go-down was well done. "Rock" Prabhu's stunts was decent especially Nandha's fight sequence with a pole bar in an incomplete building. The final stunt sequence between both the lead actors was well made, though it was shorter in length. Thaman's music is the strongest asset of the film with pleasant numbers especially "Anjana Anjana" and "Kanchamala" numbers. Besides that, the "Thirandhen Thirandhen" number is hummable. PG Muttiah has done a neat job in the cinematography department especially in the picturisations of the first two mentioned songs. The former in a very cool and minty atmosphere, while the latter was shot in a bright and vibrant scenario against olden temple structures.
The problem with R.Kannan's script is that it has no proper continuity throughout and has left some questions unanswered. The script fails to establish itself into one genre, though R.Kannan tried to make a decent commercial film. The love portions between Jiiva and Taapsee fails to hold the attention of the audience as the the pair lacks chemistry between them. The blame should go to R.Kannan for not conceiving strong love sequences. The characterisation of Nandha is not etched out properly as well. Pattukottai Prabhakar's dialogues are noteworthy, though especially during the sequence where both the lead pair explain about their ideologies on love. The final twist which comes in the climax is shocker but it might not go down well with the audiences.
The answer for the initial question asked in the beginning of this review is, a definite NO....
Ratings: 2/5 STARS
BY:TAMIL
Kanchana was publicized as Muni - Part 2 but there's absolutely no resemblance to the plot of the original film other than the reprisal of scaredy-cat hero of the first film. Muni was talked for the simple twist in the knot and for the performance of Raj Kiran. Raghava Lawrence weaved a similar plot with Kanchana as well and he did a even better job than the previous film, thanks to the strong social message he sent out to the viewers.
Casting and acting was very important for a horror film, as the actors need to be convincing enough on the screen. Raghava Lawrence just repeated the same act from the first film and it was a cake walk for him in delivering all the comedy portions though it must have been very taxing physical wise to portray certain/specific nuances needed for the 'possessed' character. Lakshmi Rai has nothing to do other than to shake her legs in song sequences. Sriman was not properly utilized but his combination scenes with Devadarshini and Kovai Sarala was good. Devadarshini was apt for her role but Kovai Sarala was simply outrageous in her comedy timing. The veteran proves that she is one of the best with her superb expressions and voice modulations. The scene where her character and Devadarshini's will be conducting tests to clarify the existence of ghosts in their house was simply too funny. Kovai Sarala is sorely missed in Tamizh cinema. The surprise packet of the film was definitely Sarath Kumar as a trans-gender. No one could have imagined him in a effeminate role before this, as Sarath was always portrayed as a action star with his big and well built physic. Sarath deserves a round of applause for portraying such a role in a convincing manner.
Technical wise, the movie has nothing to talk about. Thaman's music was a big bore and only the 'Karuppu Perazhaga' song was worth watching, for it's beats and Raghava's choreography. Raghava Lawrence should be appreciated for coming out with a horror script which has a decent and needed social message of advocating the acceptance of trans-genders in the society. Their plight, sufferings, and feelings were well captured in the film and the movie highlighted the social stigma surrounding this particular group of people. Besides that, Raghava scripted the film with ample dosage of thrills, spooks and also timely comedy portions which actually keep the audience's interest and attention.
Overall, the film is an above average horror film, which spooks the audience at the right level and also with ample dosage of commercial elements, such as comedy and songs, manages to entertain viewers
Ratings: 2.5/5 STARS
BY:TAMIL
