MUGAMOODI MOVIE REVIEW

After false alarms such as 'Kandhaswamy' and 'Velayudham', finally we have an authentic super hero film made in Tamizh cinema, keeping in mind of the Indian sensibilities and milieu. An ambitious project from Mysskin, this UTV backed film was supposedly meant for Suriya who had to pull out from this project and finally Jiiva stepped into the project and became Tamizh cinema's first super hero. "With great powers, comes great responsibilities". The responsibility is even greater for the director who is going to direct the super hero who has those great responsibilities. Did Mysskin live up to the expectations because he has a very good proven track record and considered to be one of the intense and detailed film director in Tamizh cinema, among the current young and established directors.

Coming to the performance, Jiiva has really done well for the role. Though he has been trained in martial arts before, he took this role seriously and the pain of undergoing intense training was evident in the performance while executing the complex martial arts moves. His dialogue delivery too was very appropriate and facial expressions were spot on. With more serious films under the baton of experienced and talented directors, he will definitely be one among the best of actors in Tamizh cinema. Another flawless acting from Jiiva ! Its been sometime since we saw Narain in the silver screen, and its commendable for him to step out of the conventional roles and do a negative character or precisely the villain. He has given his best, did what Mysskin told him to do so and has worked really well to buff up his physique and also to undergo months of martial arts training. His looks too was very intimidating but his performance in the second half was very questionable. Probably, Mysskin should answer why he asked Narain to perform as such. Pooja Hegde, a second runner-up winner of Miss Universe India 2010, makes her debut through this film. She looks pretty but lesser make up should make her look better. Acting wise, she was just okay. Nassar plays a an important role as the police officer who is on the hunt and he was in his usual best. Flawless and perfect ! Selvaah, makes his appearance as the master of Jiiva, and he has a beautiful role to perform. Kudos to him as well for taking the pains to train for this role. His emotional expressions were subtle, yet strong. The rest of the cast such as Girish Karnad, Naren, Anupama Kumar, Murugados, Sivaraj, Amalados, Darshan and etc does what was taught to them by Mysskin.

'Mugamoodi' has the best of resources with UTV backing it and certainly Mysskin extracted what can be extracted from them. For the costume of 'Mugamoodi' the super hero, it was designed by one called Gaebriella Wilkins, a costume designer for distinguished production units such as Disneyland Hong Kong and Cirque Du Soleil. She has done a good job with the mask especially, considering the fact, the costume was made out of five materials only. Besides her, Amritha Ram the costume designer has done a decent job with the usual clothing of the characters. The costumes of Jiiva and Pooja Hegde for the songs were simple, yet elegant. And not to forget, the costume for the antagonist, Narain.  Radhika, has done well with the choreography section, incorporating some of Mysskin's quirky dance moves. Tapas Nayak, has done good work with the sound designing, especially for the chasing scenes and the night sequences and not to forget, the action sequences. Balasubramaniam, has done a decent job with the art work, especially the hospital set and the room of the Girish Karnad, with all the gadgetry and also the bar setup as well. Gaugin, could have done better with the editing because the second half was quite slow and many scenes which was required, was deleted by him. Cinematography by Sathya was good, with the regular wide-angle shots and lengthy shots, which are a must for a Mysskin film. The night effect shots were well done too, with apt lighting, capturing the moods very well. The highlight of the movie is definitely the stunt choreography and hats off to Tony Leung Siu-hung, an acclaimed expert in Wing Chun - a close-combat form popularized by the legendary Bruce Lee. Tony has had sparring moments with the legend himself, and ironically Wing Chun was developed by Ip Man, the master of Bruce Lee, of whom a feature film was made of, and Tony was the stunts choreographer for that film ! He has trained the artistes very well and with the additional support of 'Action' Prakash, each stunt sequences were unique, realistic and powerful. One of the best action sequences to come out in Tamizh cinema !

Music by K was really good. There are only three songs in the film and it starts off with the "Bar Anthem", a typical Mysskin film song with foot-tapping beats and dance movements, this song was shot in a simple bar setup and had good lighting by Sathya. The pick of the album, "Vaaya Moodi Summa Iruda" was shot in Switzerland, in lush and beautiful scenic locales. The lead pair looked lovely and had soft and fresh color tone throughout the song and "Maayavi" too was shot there in night sequences with the protagonist being the 'Mugamoodi' and the heroine, yearning for him. Though the songs were well shot, its a head-scratching question of why the need for a foreign-location song. The theme music was riveting by K but he could have avoided the techno beats, which are awkward for a dark themed film such as this but his string section composition was brilliant. A real talent to look out for.

Mysskin starts off the movie very well with a suspenseful scene, and the Marvel-type comic book title card was cute, but all that is just secondary when it comes to the overall film. The first half of the film was good, with necessary introductions of the characters and the establishment of the super hero character. But the second half was slow and and quite amusing for the intensity built up in the first half. A couple of scenes were executed well, but the editing choice of Mysskin was not good and he should have worked with his editor in retaining the true essence of his script. In order to establish a super hero, you need to have a real, good, super villain. Narain was good, but his character suffers due to poor handling by Mysskin and by the end of the film, Narain looks like a comical villain with laughable and very fake mannerisms and dialogue delivery. With such a bad villain, your favoritism for the super hero will suffer big time, and it suffered indeed. The birth of 'Mugamoodi' was too simple and conflict goes kaput. The film was imbalanced as Mysskin tried to please all sections of audiences and his action failed big time. The film gets caught in between being dark/serious and simple/appealing. When one finishes watching it, he or she would feel disappointed because Mysskin has done brilliant works before in 'Anjaathey' and 'Yuddham Sei' and this time, its too simple, light and comical and is not hard-hitting as what he wants it to be. This could have been done purposely to attract the children, but Mysskin should know that its very, very difficult to please all of the people, at the same time and he should have used it for some other script, rather than for this. And the other main mistake by him is to etch a rather caricature-style villain who looks like a mean and menacing one, but spews silly and funny dialogues in the end.

'Mugamoodi' is good and not so good, at the same time. Its good, for being a proper super hero film within the Tamizh sensibilities and for its superior technical works. Its not so good because Mysskin's script lacks the raciness and excitement and we have watched better works from him, in the form of his own earlier films. Low intensity, low excitement, slow presentation, 'Mugamoodi' could and should have been better than this.


Ratings: 3/5 STARS

BY:TAMIL

18 VAYASU MOVIE REVIEW

R.Panneeselvam, the director of the well-received 'Renigunta' comes up with another novel and unique script with '18 Vayasu' with the same crew of 'Renigunta' backing him. Produced by S.S Chakkaravarthy with his son Johnny in the lead, this film evoked curiosity with a unique psychiatric syndrome as a theme. Having such themes is not new, since Tamizh cinema fans are accustomed to watching such theme-based films, like 'Sigappu Rojakkal', 'Guna', 'Aalavandhaan', 'Anniyan', and even the latest '3'. What's peculiar here is the theme of clinical lycanthropy, which involves a delusion that the affected person can transform into, has transformed into, or is a non-human animal !

To start of with the cast, the protagonist and heir of the producer, Johnny has done a good job indeed with his character. He is suited for the role of a mentally-affected person and kudos to him for imbibing the body language of animals very aptly. The last stunt scene where he fights like a bull, must have been very painful and exhausting for him. This chap deserves some appreciation for his hard work. Newcomer Gayathri looks okay and homely but she needs intense acting course if she wants to be successful in her career. She looks uncomfortable in her role and is not entirely convincing. Rohini plays an important role but was wasted with very little screen timing. Kannada actor Sathyendran, plays another mentally-challenged person and evokes laughter at times with his antics but tends to go overboard. Yuvarani, J.S, Sevazhai, Krishna Davinci and others make up the cast.

This film has a compilation of talented and interesting technicians behind the film. Sanjay Karan's artwork is minimalistic with little props except for a couple of bazaar sets used for songs. Anthony is behind the editing board, and he tries to keep the pace of the film from not slowing down, but he was unsuccessful largely, thanks to the slow direction of the script. Rajasekar has done a brilliant work with the stunt portions. As this film needs special detailing, he has done his homework very well and brought out the maximum output from Johnny, in executing the stunt scenes. The bull-like fight in the climax, was the best. Great work ! Shakthi, is the man behind the camera and he too has done some wonderful job with interesting low-angles and close-ups. He has managed to capture the dry and dusty landscape the script demanded and maintained a yellow and dusty color tone for the film throughout, except for the night scenes. Also, with the correct length, Shakthi manages to picturize the fights properly and ensured that the hard work done by the stunt choreographer and the protagonist, does not go waste.

Popular hip-hop and rap music artists and producers, Dinesh Kanagaratnam and Charles Bosco duo are the people behind the music of this film. If you keep in mind of their previous works, this album will be a little surprise for you. Most of the tracks in this album are melody numbers, which they are not popular for. "Entha Ulagil" is a good melody number picturized against the lead pair, where the protagonist meets his heroine for the first time and its love at first sight with bazaar sets around. "Aanum Illa" is a song picturized on transgenders and transsexuals, in a night backdrop along the long street with hawker stalls. An unnecessary song in the story line. "Enakkena Nee" is a joyful number, picturized on the lead pair with small number of dancers thrown into with round-trolley shots used mostly in real locations. The pick of the album "Unnai Onru" was picturized in the now unavailable-for-shoot, Madurai Thirumalai Nayakkar Mahal with minimal props and simple costume designs, shot in a typical dance number with plenty of dancers. "Podi Podi Pennae" is a number, picturized on the protagonist, on the run and has strong lighting and dusty tone throughout.

R.Panneerselvam, excited and enthralled us with his previous 'Renigunta' because of the unique stunt scenes and the exciting chase. But here, though the idea and concept was novel and unique, the direction and scripting lets us down big time, due to the bad handling of the director. Except for the lead protagonist, the rest of the cast members have poorly conceived and etched characters, which makes them look like caricatures. There is no cohesion and proper flow in the screen play. Though the songs were nice, they are wrongly placed and makes the screenplay to lag in pace. As the film progresses, boredom sets in with the viewers having no idea of where the film is progressing. Many questions go unanswered and characters go missing for no obvious reasons.

'18 Vayasu' is a tedious affair, with slow and lazy screenplay and a bad direction. After watching this, the viewers would definitely wonder, "Is this film from the same guy who directed 'Renigunta' ?"


Ratings: 2/5 STARS

BY:TAMIL

ATTAKATHI MOVIE REVIEW

This film initially made news for the unique posters created by the makers. The curiosity increased several folds once critically acclaimed directors such as Vetrimaran, Thiagaraja Kumararaja, Chimbudevan, Venkat Prabhu and Pandiraj endorsed it. Directed by Pa.Ranjith, a former associate of Venkat Prabhu, Studio Green purchased the distributing rights and through good promotional activities, 'Attakathi' received the right attention it wanted. The promo trailers and songs captured the imagination of the youth audience and promised something casual but different.

Half the battle of winning the approval of the audience and critics is won, if you have the perfect casting and Pa.Ranjith scores very well in this department. Most of the cast are newcomers and obviously the film belongs to the protagonist Dinesh, who has done a remarkable job. Having a theater background and experience acting in small roles in films such as 'Aadukalam' and 'Mouna Guru', Dinesh has done really well considering the fact that he is not accustomed to the lifestyle of the character he played, yet performed very naturally. His transition from a higher secondary school boy, to 'Route Thala' was well captured and depicted. His dialogue delivery too was very well done. Kudos to him ! There are many girls in the film and it takes some time to understand who is the actual heroine. Nandhitha who eventually dons the heroine's role looks very homely and cute, especially in her school uniform attire. Besides, her we have Sofia, Shalini and Aishwarya, who did what was required for their role. The rest of the cast has no known artistes, and this makes the film look very fresh and natural.

The film carries very good technical work. First and foremost, R.S Raja, should be appreciated for the stills which were the attention-grabber, pre-release. Dilip Subbarayan has choreographed very natural fight sequences. The body language of those performing the stunts were casual and realistic, with the kicks and punches, captured well with the camera. Most of the stunt scenes takes place in the latter half, once the hero has positioned himself as 'Route Thala'. Ramalingam, the art director has done a simple yet effective work in the art department. The setting is quite tricky because, the plot revolves around the beginning of the 21st century and centered around a semi-rural, semi-urban surroundings. Though actual locations helped a lot in projecting the correct setting, his props such as posters and household items were realistic touch. Leo John Paul would have had a tough time in the editing department, because the whole movie is a light-hearted one and filled with humorous scenes. So the editing, needs to be carefully done in order to avoid tedious and slow pace. His work in the songs was good. Cinematography was natural and earthy, thanks to P.K Varma's natural lighting and with the assistance of RED Pro 5.0, his camerawork was solid, especially in night sequences and the late evenings, where he captures the soft and warm, earthy dew moments.

A major highlight and USP of the film is the music by Santhosh Narayanan. In tune with the mood of the film, the songs too were light-hearted and mastered crystal clearly by Leon Zervos, a multiple Grammy and BAFTA awards winning sound engineer. The pick of the lot from the Blues-genre songs was "Aasai Oar Pulveli". A warm and breezy song, it was shot with montages and wonderful lighting, capturing lovely evening moments of the lead pair in colleges and their surroundings. "Aadi Pona Aavani", a song which got popular due to its singer 'Gaana' Bala is the other best one from the album. Picturized mostly inside the bus, the lead artist performed and emoted very well for the song, making it look very natural and lively. "Adi Yen Gana Mayil" is a pathos song, shot humorously at a real funeral house, which involves funny dancing by the protagonist. "Podi Vecha" is also shot with montages and involves lots of chasing and fights, which highlights the rise of the protagonist as a 'Route Thala'. "Nadukadalule" is another funny and quirky song, shot at night which was picturized having the protagonist singing, and surrounded by his friends and family. The lighting was very apt for the song and captured the mood perfectly. "Vazhi Parthirunthen" is a situational song, which comes with the flow of the song, showing the pain of the protagonist waiting anxiously for his girl. Santhosh has done quite well in the background score too but he must avoid inserting music during dialogue portions as well, cause it is a unnecessarily deviates our attention.

Pa.Ranjith has crafted a simple and natural film, which does not deal with any serious issues. He has captured the life and times of the youths who are from the semi-rural, semi-urban area very well and depicted what were their activities and mentality, which will be an eye-opener for those who are not accustomed to those areas where the people belong to the lower-middle class category. The film has plenty of light-hearted, humorous scenes laced with casual and natural dialogues. The film slows down in pace in the second half and a minor turn-off for those who would want to watch serious cinema is that, the film has no solid story to tell ! We are just taken into a journey of the protagonist, who keeps on falling in love even after failures over failures. The climax has a small shock for the viewers, which takes us back a little. Having a background in drawing comics, Pa.Ranjith was able to visualize his scenes properly and at the same time, keeping them crisp and short. Besides that, he has done the role of the narrator of the plot as well.

In short, 'Attakathi' is recommended for those who would want to watch something ligh-hearted but at the same time, fresh and natural. The sweet and charming moments in the film will compensate for the lack of a serious story and the slow paced second half. Thumbs up for the first-timers !


Ratings: 2.5/5 STARS

BY:TAMIL

NAAN MOVIE REVIEW

Vijay Antony made everyone sit up and notice, literally, when the announcement came that he is going to produce a film. But it was a bigger surprise, when he decided to cast himself as the protagonist. Many asked and wondered, why the necessity for him to plunge into production and acting when he is doing successful as a music director. Well, Vijay Antony is a brave man and a little sensible one, when he decided to collaborate with his ex-college mate Sankar, now known as Jeeva Sankar, a former associate of late cinematographer Jeeva. When friends come together, a good outcome is expected, especially when the friends are talented. So, does 'Naan' delivered the promises it made, of being a good film with interesting twists, during the promotions?

The cast is relatively small and simple. Vijay Antony takes the protagonist role, which suits him to T. But the problem is, he needs to improve drastically if he wants to continue acting. He has done an average job, but there was not much variations in expressions and dialogue delivery and most of the time, his performance was very monotonous. There are scenes which gives him good scope to perform, which Vijay Antony fails to capitalize. His look and physique, do match the character etched out, by the director, but you need solid performance, if you want to make a good film and that too, a thriller. Sidharth Venugopal, makes a comeback in this film, after his outing in 'Aanandha Thaandavam'. He is uber cool and composed with his performance. He too, suits the character very well and his presence makes the film to take a little colorful and cheery look. Rupa Manjari takes the best role among the girls in the film. She looks good, fresh and performs smoothly, especially with her dialogue delivery. Anuya Bhagvath and Vibha Natarajan, has nothing much to do, rather than appear in questionable roles. Vijay Victor, Krishnamurthy and others fills up the other characters in the film.

The film carries simple and neat technical work. Editing by Suriya was very neat, especially with the montage sequences in the songs. Vithiesh, the art director has minimal work, but excels in it. The interiors of the house setting is an example, be it the posh bungalow house or even a small cramped, middle-class house. Rajasekar's stunts were very natural, which involves struggles and pushing/shoving. Kudos to him ! Sound designing by R.Janarthanan and Sakthivel should be appreciated as well, especially for the climax scene. Jeeva Sankar takes care of the cinematography, and one look at some scenes, and you are instantly reminded of Jeeva. With bluish color palette and soft-lighting, the film carries a dark and subtle look throughout and nothing was too colorful or blaring, in nature. His well composed camera movements, needs to be appreciated too. Vijay Antony takes care of the music, and as usual, he has delivered some peppy numbers. The pick of the lot will definitely be "Makayala". The club number was well shot and edited with good dance movements by Shobi. The lighting and color tone, created the perfect ambiance for the song. The other three songs, "Ulaginil Miga", "Thappellam", "Dhinam Dhinam" are all montage sequences. The first being shot in juvenile home, showcasing the upbringing of the protagonist. The second song involves about the impersonation moves made by the protagonist and the final song involves about the predicaments of a few characters. His background score too, is pretty good, and follows the mood and flow of the script.

Jeeva Sankar has come up with an interesting and a good idea of an intelligent thriller script, which has some shades of popular Hollywood films such as, 'The Talented Mr.Ripley' and 'Taking Lives'. The story is interesting and suspense factor was really taken care of. Some intelligence is evident in the screenplay by Jeeva Sankar but the biggest drawback, is the loopholes left out unplugged and few questions which goes unanswered, leaving the audience with the question of, "Is there a sequel to this ?", hanging in the balance. As some intelligence is seen in the screenplay, so does some flaws and glitches in the narration. Also, the director has taken the liberty of finishing of few questions, abruptly without letting the script to end organically. A sequel is possible and within the same setting, but it is upon the directors' discretion to come up with one. Along with Neelan K. Sekar, Jeeva Sankar has come up with simple and crisp dialogues, which suits such thriller films.

'Naan' is a bold attempt by Vijay Antony and deserves a pat for backing a good project. But this could have been a much better affair if Vijay Antony had gone for some acting classes before and if Jeeva Sankar has had polished the script, by closing all the holes in it. 'Naan' - not so great, but not so bad, either.


Ratings: 2.5/5 STARS

BY:TAMIL

EPPADI MANASUKKUL VANTHAI MOVIE REVIEW

'Eppadi Manasukkul Vanthai' is a film long in the process which marks the next directorial venture of the "Naaka Mukka" director P.V Prasath. 'Kadhalil Vizhunthen' attained great media coverage for its chartbuster songs and also for the dark thriller aspect. With a totally fresh cast and crew, P.V Prasath treads the same path with another dark thriller this time, as well.

As mentioned earlier, the acting cast is entirely fresh and new. Vishwa makes his debut as a hero through this film. With good height and decent physique, he should have capitalized on his plus points. His dancing is okay and dialogue delivery is not too bad but his expressions and emoting skills need to be improved vastly, if he intends to pursue a career in this acting field. His character loses the depth and emotional connectivity it needed, due to his lack of emoting talent. Tanvi Vyas, a former Miss India Earth, makes her debut too. A pretty face was required and she pretty much fits the bill. With standard expressions and scope of performance in this film, she has to work with better directors if she wants to improve her acting capability. Irfan, the television personality, Ravi Kale, Mahendran, Satish and others makes up for the rest of the cast.

Technical wise, this film carries some good and decent work. 'Supreme' Sundar's stunt sequences are well choreographed, especially, the one shot in a half-built building, at night. Veteran V.T Vijayan's editing is flawless, compact and concise. Paulraj, the art director has done a decent job with the art department, especially with the interiors of the heroine's posh apartment, keeping in mind with the fashion designing background of the heroine's character. S.D Vijay Milton has done a very well in the cinematography department. His long shot, camera movement, angles and color tone used for scenes were very apt. Especially in the songs and night sequences, he captures the moment and intensity very well with his camera. A.J Daniel, the music director is also a newcomer. A former assistant to Harris Jeyaraj, he has delivered good songs in this film. Funnily, the film director has structured the format and song pattern, resembling the same situation and mood as his previous film ! "Oorakaali" is a typical loud and abrasive dance song, with quirky movements from Sridhar and some interesting camera movements and lighting from Vijay Milton, shot in warehouse, streets and dhobi ghat areas. The pick of the album is certainly the "Oru Paarvaiyile" number. A melody rendered by Harish Raghavendra, it was shot in montage sequences with some dance movements in between, set in Bangalore. "Eppadi Manasukkul Vanthai" song comes in a bit-song format. "Yen Kadhal" is another hummable song, sung by Karthik. Again, Vijay Milton uses fine camera movements and breezy color tone throughout the song, with minimal and subtle artwork by Paulraj, with couple of montage sequences. "Kannakuzhi Azhagi" is another dance routine number, picturized on open-top bus and the college areas, featuring the hero dancing in unique dance movements. "Uyire" is another bit-song, picturized with the heroine against the heroine and finally "Muthangal" song is shot in the apartment set with very romantic mood and lighting created by S.D Vijay Milton and Paulraj's art work enhances the feel-good look of the song.

As mentioned earlier, P.V Prasath has gone for a similar dark theme as with his debut venture. This time it has couple of interesting twists and knots. The problem with the script is that, it has gaping holes in the plot and a unnecessarily long drawn-out climax. Questionable circumstances are aplenty in the film and the performance of the lead artistes are not engaging or powerful enough, but it is watchable to certain extent, due to the interesting twists, here and there. Surprisingly, S.D Vijay Milton handles the dialogues as well and he has done a good job with it, as the dialogues are sharp and crisp. Also, the songs are eerily similar in structure with his previous film, with same situations and mood. His casting is not so strong as well, because with a better cast, especially for the lead pair roles, the performance would have lessened the damage of the weak script.

P.V Prasath, came up with a interesting idea but his loophole-filled scripting work and weak performances of lead artistes brought down the film, which has good technical values.


Ratings: 2/5 STARS

BY:TAMIL

MIRATTAL MOVIE REVIEW

'Mirattal' is the comeback vehicle of actor Vinay Rai after 3 years of absence in Tamizh cinema. This film is a remake of a hit Telugu film titled 'Dhee'. As it is the flavor of the season to have Santhanam, in its cast, this film too has him playing the sidekick to the hero.

Vinay Rai looks at ease, pulling off the character of Babloo and plays comedy quite well too. But he has to improve his dancing skills a lot, if he wants to make it out as commercial artiste. Sharmila Mandre, a Kannada actress makes her debut in this film. Her expressions and emotions are pathetic and seriously needs to go for acting lessons, if she intends to make a living as a performing artiste. Prabhu breezes through his role and Pradeep Rawat as the antagonist was loud and his character looks silly. Santhanam was the best asset and only asset of the film. He is simply funny with his dialogue delivery and fantastic one-liners. The film is full of such witty one-liners, which keeps you entertained for sometime. Accompanying him in the comedy portions are 'Ganja' Karuppu, Pandiarajan and Mansoor Ali Khan. Besides them, Rishi, Uma Padhmanaban, Yuvarani and Bosskey dons small roles in the film.

The film carries very average technical standard. Vivek Harsha's editing work was just normal, as in to compile a set of scenes into a film. E.I Mayan's art work was average too, with sloppy work in the birthday sets. D.Kannan's camera work has nothing to shout about apart from few scenic locations shot in England covering areas such as Richmond, Windsor, Bath, Surrey, Oxfordshire and around the University of East London. Praveen Mani's songs were boring too. "Radio Radio" a typical 'kuthu' number was shot in England around housing complex areas and "Kalla Paarvai" was shot with castle and greenery backdrop. "Mugamoodi" was shot with a birthday celebration background, involving the other cast members.

Director Madhesh's film has a script which is as old as the hills and nothing novel about it. Also the presentation was pretty lame and only Santhanam was helping the audiences to not fall sick. The only saving grace act from the director is to include Santhanam in the film and to pen funny one-liners for him. The story has plenty of flaws in script wise and the supposedly 'thrilling' climax was just lame.


'Mirattal' is just a one-time watch and that too for the comedy portions only.


Ratings: 1.5/5 STARS

BY:TAMIL

MAALAI POZHUDHIN MAYAKATHILE MOVIE REVIEW

'Maalai Pozhudhin Mayakathile', a wonderfully titled movie, this film is by newcomers entirely from the crew. It garnered attention through the success of one of its song on Youtube, "Oh Baby" hitting more than 200,00 views. Also, music director Achu's songs were very well received, especially the haunting, melody numbers. Well designed and photographed, it carried an interesting premise, that is the whole movie will be set in a coffee shop and what happens between the characters in that coffee shop, who are stuck inside, due to heavy rain. Did the film charm us as how the music did?

The protagonist role was done by Aari, who previously did the Shankar produced 'Rettaisuzhi'. He has an aroma of confidence with him and his appearance makes him a delightful to watch, to some extent. Heroine, Subha Putela, Miss India South of 2010, makes her debut in Tamizh cinema. Her performance is quite average and its a little obvious that she is struggling with the language. Not much of acting scope for her, as she has very less emotions to display. The rest of the cast did justice to their respective roles, be it Panchu Subbu, Sivaji R.S, Tejasvini, V.Balaji, Karuna, Sathish and etc. Choreographer Nandha and Ashwathy Warrier makes an appearance in a song.

Technical wise, the film has some decent output from the crew. Stills and designing by Maneksha and Jeff was good and romantic, keepin in mind with the theme of the film. JPK Prem used minimal but just necessary amount of props in the film as 90% of the film is based only around the coffee shop. Editing by M.Thiyagarajan was decent, and costumes were done by Narayanan Nagendra Rao and Gopi Amarnath, who are the director and cinematographer of the film. Gopi Amarnath, has captured some good shots in the songs and the color tone used in the film, especially the ambience it created for the coffee shop scene, was splendid. Not to forget, the beautiful rain shots, too. Achu, has delivered some beautiful melodies in the movie. "Oh Baby Girl" picturized against a bulbs-lit backdrop, was shot in a music-video format, something similar to the Asian music videos. Also it had some good choerography by Nandha. "Nerathin Neram Ellam", a poem recital was shot on the lead pair sitting romantically on a bench, with close-up shots, and a soft blue tone. "Yaaro Ivalo" was shot in colorful locations with good lighting. "Yen Intha Thideer" was shot in a dark color tone, with some ballerinas dancing around the sad protagonist. The song has been shot in the washroom of the coffe shop portrayed, so the angles were a little close and tight. The pick of the lot of the songs, is the 'Yen Uyire" track sung by Karthik. It was shot like a dreamy-sequence, in fog-filled, green pasture atmosphere. And also there's another version used at the end of the film, sung by 'Bombay' Jayashree. "Kadal Karaiyinile" a retrospective-montage song was picturized on the hero, reminiscing about the girl he met. Achu has also delivered soothing background score for the film, especially with the violin section.

Narayanan Nagendra Rao, the director, would have been inspired by Gautham Vasudev Menon's style of romance film, but sadly his script has nothing to offer, story wise. The script is very weak, dialogues are preachy, and the characters has no depth in them. There is no chemistry between the lead pair and there's no organic story development. Actually, no one can figure out what is the actual story of the film or what the director wanted to convey, in the first place ! Trying to present a romantic scene should be just left for advertisements and not feature films, unless you have a solid script and screenplay!

'Maalai Pozhudhin Mayakathile', a poorly written film with no story to tell ! Its a pity that Achu's wonderful music was wasted, entirely. The only other thing that can be appreciated is the 'effort' of the team to use live sound recording instead of dubbing the voices for the artistes, which gives a realistic feel to the settings.


Ratings: 1.5/5 STARS

BY:TAMIL

BILLA 2 MOVIE REVIEW

Billa 2 - The most expected film of 2012, not only because of Ajith Kumar but also for the character that he played. Thanks to the excellent marketing and promotional activities, the hype and expectations grew many fold. The trailers and teasers were a class apart from the other films, and the standard was expected to set the bar of commercial cinema several levels higher. A gigantic opening is ensured since it has Ajith but will it satisfy the audiences' expectations completely?

The film has a different set of artistes performing and making their debut in Tamizh cinema. First and foremost, the heart and pivot of the film Ajith is a magnet. He just pulls the attention of the audiences, even if he just walks or appears in a scene. His mannerism and appearance were stylish to the core. His usage of his eyes to convey emotions is a strength to his character. Of course, not to be missed is his daring stunt sequences, especially the fight in the helicopter. The charismatic and gorgeous actor, could have reduced his weight to look younger since this is a prequel, so that it is in tune with the first installment. Two leading ladies, Parvathy Omanakuttan and Bruna Abdalah make their debut here. Sorry to say, they don't have anything to offer except to showcase the rocking body, especially the latter. No dialogues, no scenes to emote. (Not their fault, though). Sudhanshu Pandey and Vidyut Jamwal make their debut as the antagonists. Sudhanshu prepared well for his role to look older than his age (kudos to him for dubbing himself) and Vidyut performed his deadly stunt scenes perfectly. But they too have nothing much to contribute or to make an impression. The rest of the cast, Yog Japee, Manoj K.Jayan, Rahman, Ilavarasu, Sriman, Sricharan, Rohit Khurana, Dinesh Lamba, Daniel Kaleb, E.Karthik, Janaki Sabesh, Sarath Mandava, 'Theepatti' Ganes and etc did what was expected from them. We get to also see some hot girls such as Meenakshi Dixit, Gabriela Bertante and Nicole Amy Madell appearing in the songs.

This film has very high technical work and they should be individually appreciated and for their wonderful work. Nithya and Rafi's costume designing was stylish, in order to make the lead artistes to look good and the style was not too contemporary keeping in mind, the period the script is set in. Choreograph by Raju Sundaram, Aadil Shaikh & Fareeda and Ahmed Khan was okay, and only "Madurai Ponnu" had good dance movements. The VFX work under the supervision of Madhu Sudhanan by Reliance Media Works, Tata Elxsi and Future works was okay as well but the sequence where a car was shot and burst into flames, had bad quality in graphics. Stephen Gomes' sound effects was brilliant, especially the action sequences where gun shots, machetes, bomb blasts and etc were recorded realistically. The highlight of the action sequences is the stunt. They were very well choreographed and neatly executed. German based Stefan Richter, Kecha Khamphakdee's Jaika Stunt team and K.Rajasekhar are the stunt choreographers and their stunts were in sync throughout the film and apt with the characters that they choreographed for. V.Selvakumar's production crew did well with the sets, be it the whore house, gun factory, small restaurant, club house and etc. The props used, especially cell phones, cars and weaponry were specifically designed keeping in mind with the older period since this is a prequel. Suresh Urs's editing could have been better by making the film look racier with the screenplay as it lags, though it runs for just above 2 hours. Cinematographer R.D Rajasekar has done an awesome job with the RED EPIC Camera. Every shot has good detailing and the camera gives the film a very glossy look, with right correction in the color tones. The sequences shot in Georgia was beautiful and R.D once again proves why he is the man to can action sequences. A search is always visible and that makes the action sequences look better. Definitely it will be one of his best work in his career.

Yuvan Shankar Raja's music especially the background score is good but there's nothing much of variation from the previous installment of 'Billa' and some portions reminds one of Hans Zimmer's score in 'The Dark Knight'. Songs are average though but the picturization was even more average though the RED EPIC camera was used. "Madurai Ponnu" was the best picturized with good lighting and art work with earthy colors and top of that hot girls as dancers with Meenakshi Dixit leading the troupe. "Idhayam" is a mellifluous song and one of the best compositions from Yuvan. It was picturized on Parvathy running in slow-motion along the beach with intercepts of her scenes prior to the song. "Gangster" song had Yuvan making his cameo but it was reduced to a mere credits song with intercepts of blooper scenes. "Yedho Mayakkam" the best dance number had awesome girls like Nicole Amy Madell and Gabriela Bertante with Ajith, Sudhanshu and Bruna as well but the concept was poorly etched out and was boring to watch. The color tone and lighting was good, though. "Unakkulle Mirugam" was shot with many scenes of Ajith showing his rise to the status of a don but it was infused with graphics, resembling graphic novel style used by Guy Ritchie in his 'RocknRolla' film. Though its an interesting idea, but it was totally unnecessary and an awkward thing to do. The "Billa 2 Theme Music" is a fantastic score from Yuvan and will be remembered for its haunting mood.

There is saying which goes like this, "Too many cooks spoil the broth" This film had the story written by Chakri Toleti, Eric Felberg (creative consultant) and Sarath Mandava (assistant director) and the screenplay was written by the same trio with an additional member in another assistant, Mohammed Jaffer. So did they "spoil the broth" indeed? Actually no. They did not even cook a broth!! What these four individuals can do, is to take the script of Oliver Stone's 'Scarface' and simplify or 'Indianize' it. Except for Ajith and Yog Japee, and Ilavarasu, the rest of them, all looked like caricatures. There's no strength in the characters and most of them are shallow. The film has no spark or zing or charisma and contains plenty of loopholes and unnecessary graphic violence. They should have realized that the film has grown from just a mere attraction of Ajith, to the intriguing factor of David Billa. Being a prequel, this film should have addressed how David Billa became the dreaded mafia of the underworld. Instead, we were just shown snippets of some photographs and the process of few dozens of shootings and man-slaughterings by Billa to raise his stake. There's no connectivity between the audience and the characters and no one understands why Billa is the kind of a person he is, which is what the main aim of a prequel should be! Instead we only get to see gun shots, bomb blasts, people dying and hot gals prancing around. The sad fact is that, the movie did not even evoke 5% of satisfaction which you get by watching the trailers. If there is any relief for the fans, it is the brilliant dialogues of Era.Murukan with the assistance of Mohammed Jaffer. The film is replete with stunning dialogues for Ajith and when he utters them, the effect manifolds. 

Conclusion: Billa 2 - HUGE DISAPPOINTMENT.......


Ratings: 2/5 STARS

BY:TAMIL

NAAN EE MOVIE REVIEW

S.S Rajamouli, the hot-shot Telugu director who gained massive success in his previous 'Magadheera' has come out with a very interesting premise this time, which involves lots of computer graphics. Though the subject of revenge drama is and age-old theme seen in Indian cinemas, the premise of seeing a house-fly taking revenge is very intriguing! How can one sympathize or empathize with a fly? Even if you do so, how is it possible to hold the attention of the audience for the duration of the whole film? Well, Rajamouli has done all that with gumption and flair!

Starting off with the cast, the protagonist Nani has nothing much to do on screen since his character is killed off but he manages to leave that charming impression which is very essential for the story because that is what will make the fans root for the fly in the later period. His dialogue delivery was good and its nice to hear him dub for himself. Samantha, has done a neat job in this film and she looks absolutely beautiful. Chinmayi too did a good job in providing the voice for Samantha's character. Santhanam makes a cameo in a small scene and in the final credits scene, and he is a scream here! Though he has very little screen time, he still manages to hold your attention and make you laugh out loud. Devadarshini, Adithya Menon, Crazy Mohan and Hamsa Nandini all did a fine job. But obviously the film belongs to the antagonist Sudeep. His work was fabulous, since he is required to emote with without any help, except for his own imagination, since the graphics were added during post-production. He has the style and grace of the perfect villain and it reminds the audience of Rajinikanth, in his heydays as a villain! His dialogue delivery was superb and the biggest strength for him is his booming voice. He deserves an applause for dubbing in his own voice with conviction, though he is from the Kannada film industry. Kudos to him! This film will certainly be one of his best in his entire career.

The film carries some top-notch technical work. Rama Rajamouli's costume designing was uber cool and casual. Sudeep and Samantha were dressed to impress, in tune with their characters and both of them were looking good on screen. Art direction by S.Ravindar was very stylish and contemporary. The color tones for the set work of homes of Sudeep and Samantha were not too colorful and was just nice. His work on the props needs special mention. Audio by Shyamal Sikdar and sound designing by Raghunath.K was solid. The climax scenes, where the most action takes place, needs special mention especially with the smashing of objects. The VFX team -Makuta VFX, deserves a big round of applause for a brilliant work. The graphics were extremely good, for Indian-standard and their hardwork is very much evident since the film had close to 2,234 VFX shots, second to Shah Rukh's 'Ra-One'. Aiding them beautifully were the editor and cinematographer. Kotagiri Venkatesa Rao's fast-cut editing helped the film sustain the attention of the audience and the climax work would have been the most challenging. K.K Senthil Kumar used the Phantom Flex camera very well and the climax shots were breathtaking. Visually the movie is a treat and the framing and lighting were perfect. The initial scene of the birth of the fly, the airport chase and the climax sequences are testimonies to the editor and cinematographer's talent. Job very, very well done! M.M Keeravani's songs are a plus-point to this film since they follow the flow of the story. "Veesum Velichathule" lingers for a while with Nani rooting for Samantha and "Konjam Konjam" shot sweetly with the night backdrop in church and streets, shows the moment where the heroine finally falls for the hero's love. "Lava Lava" makes a brief touch in the movie while the theme track, "Eeda Eeda" with witty and funny sequences of the fly, was loaded with graphics and montage sequences. And of course the remix version pre-end-credits, brings a smile on our faces with the house-flies, dancing to choreographed moves! Also, Keeravani brings funny touches to the comedic scenes, deserves special mention.

The story was developed based on V.Vijayendra Prasad's idea and S.S Rajamouli did a marvelous work in coming up with an engaging script. First of all, kudos to him for making it into a straight Tamizh film, instead of dubbing it. He had the courage to make a film on a housefly and PVP Cinemas should be appreciated for backing him up, and Rajamouli has paid them off handsomely! What's good in the script is that, Rajamouli came out with a decent screenplay, though the plot is very thin and he made it in an engaging manner, where the audience really starts to empathize with the housefly. Though we know that the film is a little over-the-top, we tend to forgive it and enjoy the fun, because the film is fun after all and Rajamouli managed to package it, in the right amount by getting the best from his cast and crew of technicians. The screenplay had no loopholes and did not have any boring moments. Nearly every scene contributed to the flow of the film and his conceptualization for each graphics scene was super good. This film should be considered as one of his best, or even the best work of his. Also, 'Crazy' Mohan's dialogues are an additional strength for the film.

'Naan Ee', is a fun-filled film which one should not miss. It may not have the best artistic work or storyline, but such attempts should be welcomed with open hands.


Ratings: 3.5/5 STARS

BY:TAMIL

SAGUNI MOVIE REVIEW

Karthi, the actor with an impressive box-office performance record is back to the silver screen after more than year of his last super-hit release, 'Siruthai'. This movie created good expectations, thanks to the return of his combination with Santhanam, the current "King of Comedy". Also, the coming together of few veteran actors and a political-satire template, generated good amount of  curiosity among the mass 'masala'/commercial cinema lovers. 'Saguni' is a character from Mahabharata. He is a schemer and comes up with interesting knots and twists in the epic mythology story. Judging by the trailer, Karthi's "Kamal" character too appears to be someone who is similar in nature to 'Saguni'. Will this new-age 'Saguni' enthrall the audience?

Karthi has turned in a natural performance. Nothing great to do in front of the camera, as his character nor the script did not demand intense scenes which evokes serious emotions. His warm yet naughty demeanor, catches the attention of the audience. He runs the show throughout the film and he appears in nearly most of the sequences. His dancing skills has improved quite a lot but he has to keep in check of his weight, because inconsistency in body shape is a terrible thing to watch in a movie. Santhanam rocks in his role as "Rajini" Appadurai and his camaraderie with Karthi was good. His one-liners were brilliant as usual and what made it more amusing was the banter between him and Karthi as "Rajini-Kamal". Though the film was marketed, with this combination as its main USP, it did not really meet the expectations it created and failed to beat their previous performance in 'Siruthai'. Heroine Pranitha (dubbing by Savitha), has nothing much to do/offer apart from appearing in a couple of scenes with the sad looks and looking pretty in songs. The big cast of veterans did what was expected out of them. Each and everyone delivered the right amount of expressions and body language needed for their roles. Prakash Raj (replacing Salim Ghouse), Kota Srinivasa Rao (dubbing by Rajender), Nassar, Raadhika takes the bulk of scenes among the lot. Prakash Raj was as efficient as the antagonist, Kota Srinivasa Rao was less serious and had more funny expressions which is a welcome relief. Nassar was fantastic with his comedy timing and dialogue delivery as the God-man and Raadhika had different shades to her character, from the Idly-seller to the Mayor. The rest of artistes like Roja (dubbing by Jayageetha), Kiran (replacing Mumtaz and dubbing by Priya Anand), V.S Raghavan, Manobala, Devadarshini, Delhi Ganesh, Naren, Chitra Letchumanan and etc fill up the screens with their timely presence. Anushka makes a cameo as a cute police officer and Andrea Jeremiah appeared in a small scene in a blink-and-you-will-miss role.

'Saguni' has a good team of technicians involved. Costumes by Neha was good especially for the lead pair in songs and also for the styling of Karthi in the second half which gave him a smart-look. 'Anal' Arasu's stunts was not bad with only two sequences and the better one was the short scene shot in the bar. Rajeevan once again does a neat job. The film involved lots of real-life locations, so its more of tweaking job for him to make the scene look believable, especially with the multitude of props. The election scenes and his set for the "Manasellam" song are noticeable. Veteran editor Sreekar Prasad seems to have struggled a lot in the editing department. The movie was unnecessary long but judging from the teasers and trailers released, he must have done lots of chopping as many scenes were already missing! P.G Muthiah did what was needed for the film in the cinematography department. His lighting and top angles shots were good. G.V Prakash, flexes his skill this time in a out-and-out commercial script. "Kandha Karavadai" was a simple and chill song with the energetic Shankar Mahadevan behind the mic. It was shot in plenty of locations like harbor, streets, flyover, buildings and etc. Sreekar did well in making the song look smooth with his editing. "Manasellam" had beautiful sceneries  from the Eastern European countries with soft lighting and the set work too was not bad with good lighting and color tones. "Vella Bambaram" was shot in the city centers of Poland and also had a soft and cute color tone throughout the film with chirpy dance movements from the lead pair. "Pottadhu Patthale" had a good bar set but could have made it look even more realistic. This song had good and unique dance movements with Santhanam too making his efforts. "Annachi" song was a rather situational one with extensive props from Rajeevan. G.V should have done better in his background score. He repeats the same track he used for his 'Veyil' theme-music in one of the scenes and apart from Anushka's sequence, the film had pretty average score from him.

Shankar Dayal made the script in such a way where, the first half had all the comedy portions and romances and the second half with all the twists and turns of the 'Saguni'. The intention of making and out-and-out commercial movie was very much evident and keeping that in mind, he has taken the liberty of over-looking logic and coherence in the story. The characters are all cinematic and just black-and-white, either they are good/innocent or dirty/villainous. The film does have one or two witty one-liners here and here, but its far apart from each other. Songs were unnecessary speed-breakers, especially in the first half. The director promised again and again through interviews that each character has its beginning, transition and end phase to them but sadly he did not live up to his words as many characters have no proper depth to them and some of them just disappear from the screenplay without any explanation.

'Saguni' is a pretty average product and though the intentions of doing a commercial 'masala' cinema was made out clearly, the film did not live up to the expectations and promises it made. An average time-pass 'masala' flick.


Ratings: 2.5/5 STARS

BY:TAMIL